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n,g,i,7cd by Google
The gift of
tr»t, Robart Qui* Noyti
By Inttrustton Of
nil Will
Ifcat HARVARD COLLEGE LlBRAR.Y3Ka
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by Google
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byGooi^lc
YALE STUDIES IN ENGUSH
ALBERT S. COOK, EDmn
Ln
EVERY MAN IN HIS HUMOR
BY
BEN jONSON
Edited with IntroductioD, Notes, and Glonary
HENRY HOLLAND CARTER, PhD.
nioressott or engush i
A OrMArtation prManlcd to ih* Faculty of tha Qraduata SoKool of
Yala Univaraity in Candidaoy for tha Dagra* of Oootor of Phfloaophy
NEW HAVEN : YALE UNIVERSITY PRESS
LONDON : HUMPHREY MILFORD
OXFORD UNIVERSITY PRESS
igai
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IM-H-x?. IZ'
Ho
-3
WItHAK: PRIHTKO BT R. WAOnR SOUM.
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TQ MY
MOTHER AND FATHER
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by Google
PREFACE
No apology need be made for an edition of Every Man in
His Humor if the play is considered for its intrinsic merit
and influence. By common consent reckoned inferior
only to Jonson's three or four best plays, it is thoroughly
characteristic of him, and fully announces and illustrates
his subsequent favorite literary activities. No later work
is fresher, more spontaneous, or freer from the vices in-
herent in a drama peopled with types. There is ' sub-
stance of life ' here, and, while this is not deeply permeated
with the eternal human traits which make an author 'not
of an age, but for all time', it is fair to assume that the
bit of seventeenth-century London hfe here recorded will
contain some appeal to people of any generation. Every
Man in His Humor is significant also by reason of its
progeny. The sum-total of Jonson's influence on later
Hterature and the drama is even yet not realized in detail,
and cannot be until each separate play is investigated
and appreciated.
Many previous editions have appeared, and much val-
uable work has been done in connection with this comedy,
but no one contribution is definitive or exhaustive. A
new edition should be welcome then, at its lowest terms,
if it collects the most important information concerning
this play which at present is distributed in a variety of
places. A new edition is justified also by the fact that
no previous one has printed the quarto and first-folio
texts side by side, and rendered easily accessible this
interesting evidence of Jonson's method of revision.
Many inviting topics have perforce been excluded. The
genesis of the himior-idea, with Jonson's relation to it.
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vi Preface
and the extent of his influence upon his contemporaries
and followers, are subjects too laige for the present in-
vestigation, in connection with other necessary tasks.
I take pleasure in recording my sincere thanks to those
who have aided me in this work : first and principally,
to Professor Albert S. Cook, for unfailing interest in this
enterprise, and much valuable criticism ; to Professor
William Lyon Hielps, for his kindness in granting the
unhmited use of his copy of the Folio of 1616 ; to Mr.
W. A. White of New York Qty, for the generous loan of
bis copy of the quarto, and the pains taken in collating
selected passages with a second original copy in his pos-
sessioo ; to Professor Henry R. Lang, for confirmation of
a point in Spanish history ; to Professor George H. Nettle-
ton and Professor C. F. Tucker Brooke, for several helpful
suggestions ; to Mr. Andrew Keogh, Mr. Henry Gruener,
and Mr. George A. Johnson, for bibli(^aphical aid ; and to
my wife and my sister, for considerable assistance in the
preparation of this manuscript for' press.
A portion of the expense of printing this thesis has been
borne by the English Club of Yale University from funds
placed at its disposal by the generosity of Mr. George
E. Dimock of Elizabeth, New Jersey, a graduate of Yale
in the Class of 1874.
H. H. C.
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CONTENTS
PAGE
I>JTRODUCnON
A. Editions of the text
I. The Quarto iz
n. The Folio of 1616 xvi
HL Subsequent Editions xvii
IV. ComparisoaoftheQiiartoaDdtheFirstFolio xxxi
B. The Date Iviii
C. Stack-History Ixviii
D. iHTLUeNCE OF THE CLASSICS .... Ixsxv
E. Extracts from the Critics .... xcvi
F. Cbttical Estimate xcviii
TEXT I
EXPLANATORY NOTES 257
GLOSSARY 408
8IBUOGRAPHY 426
INDEX 433
ERRATA 448
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INTRODUCTION
A. Editions of the Text
I. THE QUARTO
Every Man in His Humor was first published, in
quarto, in 1601. That text is in this edition for the first
time printed parallel to that found in the folio of 1616.
The basis of the quarto-text here printed is a copy owned
by Mr. W. A. White, of New York City.
The quarto was long neglected. Cunningham was the
first to revive interest in it when, in 1875, he reprinted the
first act at the end of his edition of the foho-version {Wks.
1. 188). He was not scrupulously accurate in his reprint.
The punctuation is conformed to modem osage, and the
marginal stage-directions inserted into the body of the
text, '/'is printed in italic type, as in stands in the
original, in three instances (i. 2. 93 ; i. 3. 92 ; i. 3. 173) ;
but, in the majority ofcase3(i. 1.167; i- 1- 169; 1. 1.171;
I. 2. 82; 1.3. 84; I. 3. IT2; I. 3. 132; 1.4.35; I. 4. 27;
I. 4. 29 ; I. 4. 33 ; I. 4. 37 ; i. 4. 12Z ; i. 4. 128), it appears
as'I*. ' &' is uniformly printed as 'and'. Cunning-
ham's use of italics is inconsistent. He prints Prospero's
letter (i. i. I44ff.) in roman; more often than not he
reproduces the italics of the original, but the following
words, which appear in Mr. White's copy (W) in italics,
are printed in roman in his edition : 1. 1. 129 ; 1. 1. 142 ;
1.3.162; 1.3.241; 1.4.33; 1. 4. 163 Pros^ero 1. 2. 103
Metaphor; 1.3.118 Mo/Aw; i. 3.168 Giuliano; i. 4. 186
Hesferida; i. 4. 193 Musse; in three instances (1. x. 178
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X Introduction
Hall-Beadle; i. i. 178 Poet; i. 3. 237 Phcebus), italics
sppear which are not found in W. He corrects the mis-
spelling, 'liltle' {i. z. 33), but not 'slaluers' (i. 4. 103).
Ilie following additional variations are to be noted :
I. 146 take thee
I. 173 wilt not wilt
t. 190 viigin-cheeke virgin chi
I. 302 whei'9 Where's
3. 129 so 70U
3, 327 stockada stockado
4. 183 obiecta object
The entire version of 1601 was reprinted for the
first time by Carl Grabau in the Shakespeare-Jahrbuch
(Vol. 38) in 1902. He employed for his purpose the two
original copies of the quarto in the British Museum. He
appended to the text a discussion of the date of the play,
and a comparison of this version with that of the FoUo
of 1616. He has corrected the more obvious typograph-
ical errors, and placed the original readings in foot-
notes. Grabau's text does not correspond in every parti-
cular with W. The variations £ire listed below :
I. I. 196 leats
I. I. 176 lest
t. I. 195 AwmOHT.
I. I. 197 sences
X. 3. 33 the«
I, 3. 114 70a are
1. 3. 15 Cob
J. 3. 33 vnsaootie
I. 3. 41 WeU air.
I. 3. 104 signior
Jests
J«rt
Ammmmt,
■enses
the
yonr are
Cob.
vnsanerie
WeU, air,
Signior
1 The I has been modernised fa form in this and succeeding lists.
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EditioHS of the Text
W
I. 3. 104
I. 3- "6
I. 3. 13*
1. 3. 165
I. 3. 171
I. 3. 118
I. 3. 327
I- 3- asa
I- 3- m
I. ^. laa
I. 4. 17»
I. 4. t88
yesternigbt
DCftt
/
beaatifoll
By S. G$ars»
beleene
qnalitie,
breakfast
FlorenM
beantlfnl
By. S. G$org$
beliene
PhtOmt
I
weU
qaaUtie
break fast
2. 1. 48
a. I. 63
2. 3. 67
2. 3- 41
2. 3- 41
3- 3- 47
a- 3- 47
2- 3- S9
a- 3- 73
3. I. 6
3. 1. 32
3- >■ 35
3- »■ 36
3- I. 185
3. t. 300
3. 2. 6
3- 2- 10
3. a- 17
3- a. 56
3. a. 84
3. »■ 83
3. a. 128
3. 2. 163
3- 3- 69
infiniie,
humor
no general!
iesD J
Master
mo UUokM ^
no thing
a a (is footnote)
Indeed '
I bane
bnmonr
a geneiall
JesQ I
I
passion
MasUr
knw (in footnote)
of one
Pwgo-*
metbinkea
ni'rtb'ng
Bcot few
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|. 3. 83 How ?
). 4. S maner
). 4. 37 r«de
|. 4. 70 sblood
). 4. 87 Aitts.
}. 4. 105 Sblood
). 4. 131 aiigtuor
). 4. 131 acilence
). 4. 145 Ballad singer
). 4. 148 Sblood
). 4. 153 leni
J. 4. 155 you.
J. 4. 157 pinck
;. 4. 161 (St. dir.) parUd.
y 4. 163 heare.
ieed«
sblood
Alus
S*blood
sgnior
Baiiadsingtr
S'blood
pinch
3- 4. 171 auncienr
31 4. 176 Rogtry'
3. 4. 177 signior
3. 4. 191 yours, sister
3. 4, 199 weU.
3. 4. 311 Sblood
3. 3 (St dir.) CoB
3, 3. 8 knockt,
3. 6. I happily,
4. I (St. dir.) Mtisco.
4. I. ^3 cieation.
4. I. 39 nuuster
4. I. 73 (St. dir.) Lorenzo ti
4. I. 139 there
4. I, 139 ingenerall
4. I. 167 lesu
4. I. 193 (St. dir.) disarmts
4. I. 203 beaneii
4. I. 30S ilenone
4. I. 311 GiulliaHot
4. I. 313 weaie
4. I. 314 challenge it
auncient
Rogery
Signior
yours sister
weU.
S'blood
Cob
happily
creation
Loremo t«,
thre«
in generall
Jeau
d*saTlH*s
ile none
GiaUianos
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Editiom of the Text
■*-
. 365 Cob.
Cob.
■4-
. tgi miatrisMi
miatriMe
■4-
. 397 other
ottaer
■4-
. 301 P*«>:
Pirn
+
. 3*9 inpart
impart
4-
. 331 foorth.
foorth
■4-
. 354 Pitoi
FUo.
4-
. 373 drnako.
dninke
4-
. 383 irary.
wary
4-
, 390 Nobili,.
NobiHs
4-
. 390 GtnttUua.
GemMtMta
4-
. 434 (««««»•.)
{GiitUiana)
4-
, 443 waarrant
warrant
3-
. 6 not.
not
5-
. 45 taken.
taken
5. I
■ 63 <t
it
5- >
. 64 home
Itome.
3-
. 67 beanen
hanen
5-
. 69 why
Why
5- <
. 77 Doctor,
Doctor.
5-
. 79 withaU
with alt
5-
Ue open
S-
. 9S I. come
I come
5-
. 96 Nay. I
Nay I
5-
. 100 come
come
3-
. 105 A
a
5-
. 116 GiuUiaMO
Ginlliano
5-
. «3 yon.
yOQ
3-
. 144 obiect
Object
5.
. 179 {st. dir.) Lorenco se.
Lorenzo ae
3-
. 179 (Bt dir.) Tib,
Tib..
5.
. 193 mesrago
massage
5-
. 199 on.
on.
3-
. 334 here
here:
5-
.241 qoickly,
quickly
5.
. 327 bane
bane
3-
• 353 done,
done
5-
. 338 irft
left
5-
• 375 I. I.
I. I
3-
I. 383 ThtmMos
ThortUoK
n,g,i,7c.dbyG00'^lc
5.
. 389 wich
which
3-
. 390 vatlet
varlet
3.
. 397 Hcm^m.
Homtrvm.
5-
. 397 obmwm
3- >
. 403 mnsi
mtist
3.
. 404 {at dtr.) struaml.
strtuinl
5-
. 407 rae,
me
5-
. 419 (St. dir.) MNMor.
*%mit>r
5-
. 439 Snow-liuer
Show-Uuer
5.
PKl«g<m
5-
. 43a ttstifi*.
U^fie
^
■ 453 «/'»<*.
eloud
3.
. 459 WO*,
NiU
5-
. 460 CrocodU*:
Croe/>diU
5.
. 468 realms;
realme.
3-
. 470 httBtit,
bfwH$
5-
. 479 Sir:
Sir.
5.
. 301 Barathrum,
BaratJmm
5.
. 538 age,
age
5.
. 543 mundi.
mundi.
5-
. 578 hmband.
5-
. 581 fore headed
foreheaded
3>
. 383 fore head
forehead
5-
. 611 ail.
.Of
5.
. 613 besmt
hi sun
5.
I, 6*7 diacontentment.
diEcontentment
3.
1. 637 robes.
robes
5-
I. 638 Ciidliano,
GiuUiana
5.
I. 638 Protpero,
Prospifo
In 1905, Bjing reprinted the quarto in Vol. 10 of the
Materialist zur Kunde des SUeren englischen Dramas.
His reprint was prepared from a transcript made from the
copy preserved in the Bodleian Library, Oxford, and the
proofs were read throughout with a copy in the British
Museum. Grabau's version was also consulted, but
proved. Bang says, 'not invariably accurate in detail.*
His own text contains the following variations from W :
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Editions ot the Text
I. 3. aa7 shchada stoekado
X. 3. 337 Phoebus Pkatms
3. I. 187 my princely* "my princely
3. 3. 84 woond * wonnd,
4. I. 13 MuKo Mum
4. t. 303 Bob Boh
4. I. 339 thee the
3. *. 443 they thy
3. I. 565 BUmcha Btamcba
The readings of W at this point have been compared
with the second and better copy of the original edition of
1601, owned by Mr. White. With three exceptions, the two
copies agree. These are siockada (i. 3. 227), Phcebus
(i. 3. 237), wound (3. 2. 84) ; in White's second copy the
readings are 'stockado', 'Phcebus', and 'wound'. These
variations are of interest, since Bang writes that the copies
of the original quarto which he consulted agreed abso-
lutely, and since Bang's reprints have acquired the repu-
tation of such accuracy as to justify their use in place of
an original, where this was inaccessible. In these dis-^
puted readings, G agrees with B in ' stockado, ' ' Phoebus, '
and 'wound' ; with W in all the others.
In 1910, Schelling placed the quarto-text at the head of
the Ust of Jonson's plays published in the Everyman Libra-
ry. It is not stated from what source his reprint wjis made.
The punctuation and spelling are modernized, the mistakes
of the original corrected, and some abbreviations ex-
* The original is here difficult to decipher. Approximately in the
position of Bang's qnotation-mark, there is found something resembling
a small star of asterisk, which appears not to be due to an imperfection
in the paper.
* The paper is noni at this point, and an original comma may have
disappeared.
n,g,i,7cd by Google
panded. The following additional vsiriations have been
noted:
flont
your yoa
S cooaequeiitlj and consequently
a pothecaries an apothecary's
Bane Ban
by what by-what
3 flincher filtcher
The characteristics of the quarto will be further dis-
cussed in the section on the comparison between it and
the first folio.
II. THE FOLIO OF 1616
bi the preparation of the present text, a copy owned
by Yale Library (Y), another owned by Professor William
Lyon Phelps of Yale University (P) , and Bang's reprint
in Vol. 7, Erster Teil, of the Materialien zur Kunde
des ilteren englischen Dramas, were employed. Surpri-
singly few variations between the copies were discovered.
Bang prints a list of variants from a copy in the Hague
to accompany the volume in which his reprint of Every
Man in His Humor occurs, but none are recorded for
this play. The discrepancies observed in the present
study are as follows :
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Editions of the Text
Ded. Mf Cambdeo, Oana- Mr. Cunbden Mr. Cambden, Clueutiaux
"-HI
109 then f haue tone f hAu« taoe then fhatie tame
137 in kind in-kiad is kind
13S grejr-hound, grejr-hound ; grey-hound,
43 Matt Matt. WMan
44 WotiU Would ould
45 To ruU To nU» Tg rufa
III. SUBSEQUENT EDITIONS
The folio of 1640 makes some emendations upon the
text of 1616. Some of these are dearly corrections or
improvements ; others are of more questionable value,
and appear to follow the personal predilection of the
editor. The following may fairly be counted as improved
readings : 1. 1. 6 be' at 1616, be at 1640 ; 1. 1. 29 doe 1616,
does 1640 ; I. 2. 85 owue 1616, owne 1640 ; i. 3 Scene II.
1616, Scene III. 1640; i. 3. 13 Blajme-worme 1616,
Brayne-worme 1640 ; i. 3. 65 be-gelt 1616, Be gelt 1640 ;
1. 3. 73 II efumish 1616, I'll fumi^ 1640 ; i. 3. 85. i. 3. 88
Serv. 1616, Step. 1640 ; 2. 3. 2. I faith 1616, ifaith 1640 ;
2. 3. 15 I'st like 1616, Is't hke 1640 ; 2. 3. 21 bluod 1616.
bloud 1640 ; 2. 3. 54 harme in, troth 1616, harme, in
troth 1640; 2. 3. 58 Dow. 1616, Dame 1640; 2. 5. 24
mother' 1616, mother 1640; 2. 5. 41 affiction 1616, affec-
tion 1640; 3. I. 83 indeed. 1616, indeed, 1640; 3. 2. 47
field's 1616, fields 1640 ; 3. 3. 20 To the taste fruit 1616,
To taste the fruit 1640; 3. 5. 39 sir, 1616, sir. 1640;
4. 5. 2 for-euer, 1616, for-euer. 1640 ; 4. 6. 32 thy 1616,
they 1640 ; 5. 3. 38 beseech 1616, beseech 1640. A glance
at changes similar to these in later editions shows that
this revision was not a thoroughgoing or consistent one.
The list of changes which impair, rather than improve.
n,g,i,7c.dbyG00'^lc
xviii Introduction
the purity of the original text are as follows : i. 2. 38
I pray you, sir 1616, I pray sir. 1640 ; 2. i. 4 i'the 1616,
ithe 1640 ; 2. I. 6 th'pieces 1616, the pieces 1640; 2. 1. 8
Mr. Lvcar 1616, master Lucar 1640 ; 2. i. 92 you author-
itie 1616, your authoritie 1640 ; 2. i. 120 They' are 1616,
They're 1640 ; 2. 2. 34 so he shall drinke 1616, so shall
he drinke 1640 ; 2. 3. 72 miserie' 1616, mis'rie 1640 ; 3.
3. 53 'imaginations 1616, 'maginations 1640 (had the
editor been consistent, he would have omitted the false
apostrophe, without contracting the words), Cf, change
of mother' to mother, 2, 5. 24, and field's to fields, 3. 2.
47) ; 2. 5. yj states 1616, state 1640 ; 2. 5. 53 sauces 1616,
sauce 1640 ; 3. 2. 52 house here 1616, house 1640; 3. 3. 83
ware 1616, 'ware 1640 ; 3. 1. 120 & 1616, and 1640 ; 3. 4. 56
& 1616, an 1640 (in the majority of cases, however, the &
remains unchanged) ; 3. 5. 58 i'vmversitie 1616, i'the Vm-
versitie ib^o ; 3,5. 131 he swears admirably 1616, he swears
most admirably 1640 ; 3. 7. 21 e're 1616, ever 1640 ; 4. 2. 72
curse the staires 1616, course the stars 1640 ; 4. 6. 6 peace
be 1616, peace by 1640 ; 4. 7. 155 tane vp 1616, tane't
vp 1640. A few obvious new mistakes are made. The
following certainly belong in this category, and possibly
some of the previous list : 3. i. 67 pray 1616, 'pray 1640 ;
3. 7. 67 better 1616, beter 1640; 4. 6. 49 preyes 1616,
presy 1640 ; 4. 7. 68 vnder seale 1616, under-seale 1640 ;
4. II. 32 a comes 1616, acomes 1640 ; 4. 6. 50 Kno. 1616,
E. Kn. 1640 ; 5. i. 47 with 1616, wirh 1640. Certain
changes are uniform in this edition : 'Ifaith' is regularly
printed 'ifaith' ; with one exception (3. i. 92), 'then' is al-
ways changed to 'than' ; 'and', in the sense of 'if, is con-
sistently printed as 'an". There is a tendency shown
here to contract words: i. i. 80 brauerie 1616, brav'rie
1640; 2. I. 120 They 'are 1616, They're 1640; 2. 3. 72
miserie 1616, mis'rie 1640 ; 3. 3. 53 'imaginations 1616,
'maginations 1640 ; 3. 5. 132 of Caesar 1616, o' Caesar
n,g,i,7cd by Google
Edition of the Text jdx
1640 {cf., however, 2. i. 6 th' pieces 1616, the pieces
1640). Nouns are frequently, though not uniformly, cap-
italized : 3. 7. 70 princes 1616, Princes 1640 ; ibid, nobles
1616, Nobles 1640 ; ibid, bowers i6i6, Bowers 1640 ;
3. 7. 71 ladies 1616, Ladies 1640; ibid, cabbins 1616,
Cabbins 1640 ; ibid, souldiers 1616, Souldiers 1640, etc.
There is a tendency to hyphenate more words in 1640 :
I. 2. 37 kinsmans 1616, kins-mans 1640; 2. 1. 77 citie
pounds 1616, City-pounds 1640; 2. 3. 36 Sweet heart
1616, Sweet-heart 1640. Besides these specific changes,
there is a considerable, though not consistent, change
toward more modem spelhng: i. 2. 89 hether 1616,
hither 1640; I. 2. lOl guifts 1616, gifts 1640; i. 2. no
geering 1616, jeering 1640 ; 2. 5. 22 dearling 1616, darling
1640 ; 3. I. 8 reguard 1616, regard 1640 ; 3, 5. 23 Lieute-
aa.nX-CoroneU 1616. Lieutenant-CoUonel 1640 ; 4. 6. 33 flue
1616, flew, 1640 ; 4, 7. 145 strooke 1616, struck 1640, etc.
The chief value of this edition is that it revCEds the source
of many changes which have crept into modem editions.
The foho of 1692 is a fairly accurate reproduction of
the folio of 1640. All the emendations of the latter
appear, which shows that this, and not the 1616 folio,
¥ras the basis of the text. Certain new changes are
made. Those which appear to improve the text are
listed below: i. 2. 2 we do'not 1616, we do not 1692 ;
I. 3. 42 Brayne-worme, 1616, Brain-worm. 1692; i. 3.
49 well, 1616, well. 1692 ; i. 4. 27 I sir 1616, Ay, sir
1692; I. 2. 129 ne're 1616, n'er 1692; 2. 5. no e're
1616, e'er 1692. The uniform change of 'ha's* to 'has'
corrects the misleading appearemce of the word in the
first folio. The following changes, however, interfere
with the transmission of the text as Jonson wrote it :
I. 2. 73 inhabit there, yet ? // thou dost 1616, inhabit
there. Yet if thou dost 1692 ; i. 4. 26 herring Cob 1616,
herring. Cob 1692 ; 2. 4. 34 mistris Mary 1616, Mrs Mary
n,g,i,7cd by Google
XX IfOroduction
1692; 3. 1. 120 gentlemem, & souldier 1616, Gentiemati
and a Soldier 1692; 3. i. 162 M'. Stephen 1616,
Master Stephen 1692 ; 3. 5. 60 of one shoulder 1617,
on one shouldler 1692. '&' is uniformly printed as
'and' or 'an" in this edition. 'Hem' appears regularly
as 'em'. The general practice of the edition, however,
in regard to contracting and expanding words is not
unifoim, as the following instances illustrate : 2. i. 6
th' pieces 1616, the pieces 1692 ; 3. 2. 56 i' the name
1616, in the name 1692 ; 3. 3. 94 H* is 1616, He's 1692 ;
3. 5. 69 of me 1616, o'me 1692 ; 4. 6. 84 o' you
1616, of you 1692. The majority of nouns are cap-
italized here. The marginal stage-directions are incor-
porated into the text. A change of speaker is indicated
by a break in the line. The spelling and punctuation
are further modernized.
The edition of 1716, printed for eleven booksellers
whose names appear on the title-page, is a reprint of
the folio of 1692. This is proved by the presence in it
of the pecuharities of the text of 1692 : the emendation
in I. 2. 73 (cited above) ; the placing of marginal stage-
directions in the body of the text ; the capitalization of
nouns : the breaking of the line to indicate a change of
speakers, etc. There is also some evidence of new edi-
ting: m". gelding (i. 3. 29) is incorrectly emended to
Mistress's geldii^; i. 3. 47 again' 1616, against 1716 ;
I. 5. 91 youl'd 1616, you'd 1716; 2. 2. 10 Why, do you
heare ? you 1616, Why do you hear you ? 1716 ; 3. 4. 54
fish, and bloud 1616, flesh and blood 1716 ; 4. 6. 5 i' the
name of sloth 1616, i' najne of sloth 1716. As in the
previous edition, certain words are contracted, and others
expanded, without aiq)arent consistency: i. 4. 32 the
coles 1616, th' coles 1716 ; 3. 3. 44 th' bonds 1616, the
Bond's 1716, etc. The number of the act is not repeated
with each scene in this edition, and for the first time
n,g,i,7cd by Google
Editions of the Text xxi
the name of the speaker is inserted before the opening
speech of each scene.
In 1752 appeared Gamck's stage-version, with alte-
rations and additions. This version has been the subject
of the two following inaugural dissertations : Heinrich
Haass, Ben Jonsons Lustspiel ' Every Man in His Humour'
und die gleichnamige Bearbeitung durck David Garrick ;
Franz Kramer, Das VerhdUnis von David Garricks 'Every
Han in his Humour ' xu dem gleichnamigen Lustspiel Ben
Jonsons. Detailed infonnation concenung Garrick's
treatment of the Jonson text can be found in these books,
and it is only necessary, at this point, to illustrate the
general nature of the changes. Jonson's prologue is
omitted, and an ordinal one by Garrick substituted.
The scene-division is altered, and the place of separation
between the fourth and fifth acts changed. Stage-
directions desciibing the place of action for each scene
are added. Percy Fitzgerald (Life of Garrick, p. 274)
thus characterizes Garrick's method : ' He first prepared
it carefully for the stage, by a jealous pruning of every-
thing old-foshioned, or likely to interfere with the easy
progress of the story, which was indeed judicious prep-
aration. But he also, according to his favorite practice,
added a scene at the end of the fourth act which really
supplies "business" and heightens the interest.' The
following instances are typical : The punning references
to 'H(^s-den* (1. 2. 76),! 'Jews' {1.2. 72, 76), and 'hog'sflesh'
(i. 2. 76) are omitted, since the attitude toward the Jews
had changed since Elizabethan times ; 'lohn Trvndle' (i.
3. 65), the printer, is not mentioned, since he was no
longer familiar to the audience ; the allusion to 'Hieronymo'
(i. S- 46) is absent, since it was antiquated at that time,
:e given to tbe present
n,g,i,7cd by Google
jExii Introduction
and could no longer awaken interest ; the reference to
'little caps' {3. 3. 37) and 'three-pild akomes' (3. 3. 39) is
omitted, as no longer in keeping with the fashions of
the day. Kramer (p. 98), in summarizing the relation
between Ganick's version (B) and Jonson's (O), com-
ments as follows upon an enrichment of characterization
in the latter : 'Wir begegnen in der B. einer neuen, wenn
aitch nichl sehr stark vom O abweichenden Charakter-
zeichnung der handelnden Personen. Neue, von G. vor-
genommene Schattierungen weisen die GestaUen des Bobadil,
Kitely, Cob, Bridget, Downright, Knowell senior auf ;
meistens sind sie sympathischer, natUrlicher von G. ge-
zeichnet, als es im 0 der Fall ist. GegenUber der 0-Fassung
vergrobert ist dagegen im grossen und ganzen das Bild, das
wir von Stephen aus der B gewinnen {vgl. die mehrtnals
erwdhnten ZUge in der Hauftabhandlung) . Im allgemeinen
ist zu sagen : die Konirastfiguren sind besser herausge-
arbeitet, das psychologische Detail vielfach vertieft worden.'
Whalley's edition, published in 1756, declares in its
preface that care has been taken to exhibit the text
with the utmost correctness. He calls the text of the
1616 folio the basis for his own, remarking (p. 11) : 'In
following this copy we had little else to do, than to set
right some errors of the press, and a corrupted passage
or two, which seem to have been derived from the same
source.' It is easily apparent, however, that he in no
way conformed to this ideal. He not only embodies
the significant emcndatiwis which found their way into
the text in the 1640 and later editions, but also adheres
most closely to the edition immediately preceding his,
that of 1716. He follows its example in not repeating
the number of the act with each successive scene, and
in inserting the name of the speaker before the opening
speech of each scene. With three exceptions, this edition
reproduces the points cited as evidence of editing in the
n,g,i,7cd by Google
Editions of the Text xxiii
1716 edition : ' I name of Sloth' (4. 6. 5) is changed to
the earlier 'i* the name of sloth,' without comment;
'Mistress's Gelding' (i. 3. 29) is changed to 'master's
gelding,' but the original 'm? ' is not restored ; ' Why do
you hear you ? ' (2. 2. 10) is restored to the earlier form
' Why do you heare ? you,' and Whalley adds the folbw-
ing comment in a footnote : 'This is the reading of the
last edition, and is evidently corrupt. I corrected it
as it stands above ; and turning to the first folio, found
my conjecture confirmed by it.' These considerations
seem clearly to indicate that Whalley's method of proced-
ure was to start with the last edition published, and,
only when this seemed to need correction, to return to
the original edition, a practice hardly in keeping with
his statement that his edition was collated with all former
e<fitions, and corrected. See W. S. Johnson's description
of a similar situation, in his edition of The Devil is an
Ass, p. XV. As he remarks, 'this reverence for the
1716 text is inexphcabk.' Whalley adheres to the mo-
dernized spelling of the edition of 1716, but does not
conform to its practice of capitalizing the initials of
nouns. He reprints the list of players which appeared
at the end of the first folio, but which all subsequent
editors up to Whalley's time had omitted. Explanatory
notes, some of which are found in modem editions,
appear now for the first time. His edition of the text
has no critical value. Whalley's version was reprinted
in 181 1, together with the works of Beaumont and
Fletcher.
Gifford's edition appeared in 1816. His text is based,
for the most part, on Whalley's, but he allows himself
even greater license. The scene-division is altered (see
diagram on p. xxxii). This assembling of short scenes
into Icoiger ones is an improvement for modem stage-
conditions. He introduces notices of the scene at the
n,g,i,7cd by Google
xxiv Introduction
opening of the various acts and scenes, a^ds a large
number of stage-directions, and, in a few instances,
slightly alters the langu^e of those already in the text.
These are an aid to the present-day reader. There is a
still further advance in modernization of the spelling,
and the old-fashioned s is changed. The following in-
stances of revised speUing are typical : 3. 1. 40 mis-tane
1616, mistaken G; 3. i. 81 inow 1616, enough G; 3.
3. Ill venter 1616, venture G. Gifford shows an almost
consistent habit of filling out elisions and contracted
words: Prol. 7 th'ill 1616+, the ill G; i. i. 48 in 'hem
1616+, in them G; 2. i. 9 he shall ha' i6i6+, he shall
have G ; 3. 5. 58 i 'th' university W, i' the Vnivereity G.
A few exceptions like the following occur : 3. i. 99 in 'hem
1616+, in 'em G ; 3. i. 143 put 'hem 1616+, put 'em G.
The boldest emendations are the substi t u tion of ' very good,
sir', for 'well sir' (1.1.6), and'bczzard' for 'kite' (i. 1.60),
in both of which he returned to readings of Q. Gifford's
conception of the prerogatives of the editor is clearly
illustrated by his comments on these changes. Of the
former he writes ; ' It signifies httle which is taken,
though it may be just necessary to note the variation';
of the latter : ■ I prefer this to kite, which is the reading
of the folio.' A sternly critical text is hardly to be ex- ,
pected from such an attitude of mind. 'It's' is unifonnly
changed to 'tis'. 'Tld' and 'you'ld' regularly have the I
omitted. In three new instances 'M", is expanded to
'master' (3. 1.72:3. 4. 66; 4. 6. 45), but'mistris' {i. 4. 74)
is contracted to 'M"'. Other similar contractions are ;
I. 3. 35 'Pray thee' to 'Prithee' ; 3. 4. 66 'here is' to 'here's' ;
3. 7. 60 'gods pretious' to ' Sprecious' ; 3, 7. 72 'gods pretious'
to 'Od's precious' ; 4. 7. 154 'Gods will' to 'Ods will'. Gifford
indicates his change of 'but' to 'bolh' (2. 1. 36), and
'affiction' to 'affliction' (2. 5. 41), but the following
are inserted without comment: 1. 4. 37 Alas I ha, ha.
n,g,i,7cd by Google
Editions of the Text xxv
1616+, alas, ha, ha, ha! G ; 2. i. 86 to disswade, brother
1616+ , to dissuade meG; 3.5. 56heha'si6i6+, heisG;
4. 8, 55 where so I mar^al'd 1616+, where I so marshal-
led G. The ordei of the characters in the Dramatis Persona
is changed in this edition, and the abbreviated names
expanded. Gifford adds more textual notes, and critic-
izes Whalley's freely.
In 1838 appeared Barry Cornwall's edition of Jonson.
This is a reprint of Gifford's version, without notes, and
is of slight importance. It is a nearly accurate reprint
as the following sUght variations attest : Pro, 19 shou'd
G, should BC; 2. i. 127 reputation, and G, reputation
and BC; 2. 5. 34 sons eyes G, sons' eyes BC; 3. 1, 59
dumb man G, Dumb Man BC; 4. 4. 17 BurguUian G,
BurguUion BC.
In 1871, Cunningham brought out a re-edition of
Gifiord. No alteration in the text is made, but a new intro-
duction and some additional notes appear. This is still
the standard edition for Jonson 's complete works.
In 1877, Wheatley published the first separate anno-
tated edition of Every Man in His Humor. Up to the
present time it has been the most complete edition of
this play. It contains a short biographical sketch of
Jonson, an introduction discussing principally the manners
and customs in England at the time represented by the
play, and a larger number of textual notes than any pre-
vious edition. The quarto-version has been read, and a
short description of the relation between this and the
folio, with brief illustration of the typical differences,
included in the introduction. Wheatley describes as
follows his treatment of the text {Introd., p. Ix) : 'The
folio edition of 1616 is followed throughout, and some of
the chief points in which it differs from the quarto of
1601 are referred to in the notes. The spelling is con-
formed to modem usage, except in a few instances where
n,g,i,7cd by Google
xxvi Introduction
something seemed to be gained by retaining the older
form ; for instance, the speUing of costar'tnonger, mil-
laner, cam'rade, fhant'sy, &c. help us to the etymology
of those words better than the present form's, and the
"bare vowel I " and Moregate show the pronunciation of
the words aye and Moor gate. ' Some few coarse expressions
that would have unfitted the play for pubhc reading have
been omitted. The scenes are divided as they stand
in the folio. Gifford's stage-directions, and notes for
the localities of the different scenes, with two alterations
[see variants, 4. 6 and 4. 7], are inserted in brackets.
The coarse expressions eliminated are as follows : 'Whor-
son' is omitted wherever it occurs {1. 2. 27; 3. 5. 126;
4. 2. 138; 4. 7.134) ; 'rankest cow, that euerpist' (2. 2. 20)
becomes 'rankest cow' ; 'What miftreffes we keepe' I etc.
(2.5-33— 41) is omitted; 'with a poxe' {3. 6.40) is omitted ;
'poxeon it' (4. 2. 70) is changed to 'plague on it' ; 'though
not in the' (4. 8. 117) is omitted ; 'have I taken Thy
bawd, and thee, and thy com[>anion, This horie-headed
letcher, this old goat. Close at your villanie' (4. 10. 45 ff.)
is omitted. Wheatley makes a few changes from the
folio of 1616, which he indicates by square brackets.
Gifford's alterations in the Dramatis Persona, and the
two following changes, are so indicated: i. 3. 29 xa.'^
1616, mtaste]r's Wh ; 2. 4. 9 my yong 1616, my young
[master] Wh. There are, however, quite too many other
changes from the first folio without any mention, to sub-
stantiate Wheatley's claim that this has been 'followed
throughout.' They are as follows : 1. 1. 29 how doe 1616,
how does 1640, Wh; i. 2. 38 I pray you, sir 1616,
I pray sir 1640, Wh ; 2. i. 86 to disswade, brother 1616,
to dissuade me G, Wh; 2. i. 92 you authoritie 1616,
jraur authOTity 1640, Wh; 2. 2. 34 so he shall i6i6,
so shall he 1640, Wfa ; 3. 4. 54 fish, and blond 1616, flesh
and blood 1716, Wh; 3. 5. 131 hesweares admirably 1616,
n,g,i,7cd by Google
Editions of the Text • xxvii
he swears most admirably 1640, Wh ; 4. 6. 32 thy 1616,
they 1640, Wb ; 4. 7. 30 il so they would 1616, if so be
they would 1640, Wh ; 'mr' is expanded to 'm£ister in
four instances {i. 3. 65 ; i. 4. 66 ; 3. i. 18 ; 4. 7. 131), but
in other cases remains unchanged (i. 5. 165; 2. i. 8;
2. 2. 5 ; 2. 4. 22 ; 3. I. 5 ; 3. I. 67 ; 3. i. 72 ; 3. i. 77 ; 3.
1. 162 ; 3- 2- 29 ; 3- 4- 66 ; 3. 5. 6 ; 3. 5. 155 ; 4. 2. 106 ; 4. 6.
29; 4. 6. 45; 4. 7. 2; 4. 8. 45; 5. 2. 29; 5- 5-40;
5. 5. 61 ; 5. 5. 73). This list omits corrections of
obvious mistakes in the first foho, which are inserted
here without comment. Wheatley has followed, also, an
inconsistent principle of italicization, in places. It would
appear as if his actual method of [n'ocedure had been to
employ a text as late as Gifford's, which he imperfectly
collated with that of the first folio.'
In 1893, Every Man in His Humor became the first of
a selected number of plajrs, published in the MermasiiScrws
under the general supervision of Nicholson. He announced
in his preface that his policy in preparing the texts was to
employ three somces, the quartos and the first and second
fohos, adding: 'In nearly every instance— unless there
were some sufficient reason, such as the greater propriety
of the original word or words, the possibiUty of the change
being merely a printer's error and the like— the latest and
most revised reading has been adopted.' In the case of
Every Man in His Humor, however, the many variations
from the quarto, and the lateness of the author's .evision,
made him feel justified in basing his text, for the most
part, on the two fohos. He states, also, that the ortho-
graphy has been modernized, and explains, at some
length, his reasons for following the somewhat excessive
* SmithsoD, in the tist of editions published, prefatory to the text in
G&yley's edition of this play, mentions Symonds' edition, 1866. Tbii
is a mistake ; Ev*ry Man In did not appear in Symoads' velected list
of phyi.
n,g,i,7c.dbyG00'^lc
xxviii • Introduction
punctuation of Jonson. Nicholson has been faithful to
his principle in a general way, but the following Ust of
changes is sufficient to prove that he did not confine himself
to the first two folios in the prepaiation of liis text :
I. 3. 29 m'? 1616, master's W, N ; 1. 5. 165 M^ 1616,
Master 1692, N ; 3. i. 18, 3. 4. 66, 4. 8. 45 W. 1616, master
G, N ; 2. 5. 41 affiction 1616, affliction G, N. Some in-
dependent editing is done also : 2. I, 80 I'le assure him
1616, I'le assure you N ; 2. 2. 31 swinge 1616, swing N^
3. I. 5 M'.i6i6, master N, Brief textual notes are
inserted at the foot of the pages, drawn largely from
Gifford's notes. The latter's stage-directions are inserted
also, with a change at the beginning of the first scene
(see variants). The order of the characters is changed
from that of any previous edition. Nicholson often cites
in a note the source of a particular reading, but this is
not always done, so that it would be impossible to recon-
struct, from his version, the original text of the play as
Jonson left it. It cjin not, accordingly, be called a care-
ful, critical edition.
An edition by Dixon was pubhshed among the Temple
Classics, in 1905. This is a reprint of Gifford's text.
The following discrepancies are to be noted : the prologue
follows the Dramatis PersontB in Dixon, whereas it precedes
the latter in Gifiord; Ded. 5 Camden, G," Camden D;
Ded. 26 True Lover. G, true lover, D ; i. 5. 166 shillings G,
shilling D ; 3. 3. 64 chink G, clink D ; 4. 5. 34 Pray thee G,
Praythee D. A brief introduction, a few textual notes,
and a glossary, accompany the text.
In 1906, Every Man in His Humor was one of five
selected plays to appear in an edition by Hart, in Meth-
uen's Standard Library. Gifford's text has been the
point of departure here. The stage-directions of the
latter, and the form of his cast of chafacters, are used.
The following correspondences will show Hart's general
n,g,i,7cd by Google
Editions of the Text xxix
acceptance of Gifford's modernized version : i. 3. 29
my m"^ 1616, my master's G, H ; i. 3. 35 'Pray thee
1616, Prithee G, H ; i. 4. 37 ha, ha. 1616, ha, ha.
ha ! G, H ; 3. 4. 66 here is 1616, here's G, H ; 4. 8. 55
where so 1 1616, where I so G, H, Gifford's most marked
departures from the first folio, however, are not followed ;
1. 1. 6 very good sir G, well sir 1616, H ; i. i. 60 buzzard
G, kite 1616, H ; 2. I. 36 [both] G, but 1616, H ; 3. i. 86
disswade me G, disswade 1616, H ; 2. 2. 32 gang G, ging
1616, H ; 2. 4. 21 my — od so G, my — 1616, H. Yet
his principle of discrimination is not consistent. The
following changes from 1616 are of a sort which the hst
just cited would seem to render unjustified : 2. 5. 41
affiction 1616, affliction G, H ; 3. 5. 56 he ha's i6i6,
he is G, H. Inconsistency appears also, in the following
illustrations, in his failure unifonnly to follow either the
text of 1616 or that of Gifford : 3. 7. 60 Nay, gods pretious
1616, 'S precious G, H ; 3. 7. 72 by gods pretious 1616, H,
'Od's precious G ; 4. 7. 154 Gods will 1616, Ods will G
H. The text falls diort of being strictly critical in that
it would be impossible to reconstruct the original text
of 1616 from it.
In 1910, this play appeared in Schelling's edition of
Jonson in the Everyman Library. The folbwing varia-
tions from Gifford's text are to be noted : the prolt^ue
follows the Dramatis Persona in Schelling, whereas it pre-
cedes the latter in Gifford ; Ded. 5 Camden, G, Camden S ;
Ded. 24 True Lover. G, true lover, S ; i. 5. 166 shillings G,
sbiUing S ; 3. 1. 175 coney-catching G, coney-hatching S ;
3. 3. 64 chink G, clink S ; 4. 5. 34 Pray thee G, Pray-
thee S. The fact that these variations, with one ex-
ception, are identical with those listed above for Dixon's
text would seem to indicate that Schelling may have
approached Gifford's text through the medium of Dixon's
text.
n,g,i,7cd by Google
XXX Introduction
The latent edition! of Every Man in His Humor appea-
red in 1913, in Gayley's Representative English Comedies
(Vol. 2)'. An introductory critical essay, prepared by
Herford, precedes the text. The preparation of the text,
textual notes, and a bibUography of previous editions, is
the work of Smithson (for convenience in nomenclature,
the text will be labelled Ga in this edition). Smithson
thus describes the process employed in the preparation
of the text; 'The present text is printed directly from
an imprint of it belongii^ to Professor Gayley. The
forms of the letters ;', s, «, », have been modernized,
a few obvious mistakes of the printer corrected, and
stage-directions in square brackets added.' [Changes
from Gifford are indicated in the variants : 4. 6 ; 4. 7.]
The punctuation and spelling have been altered only
when the original reading would render the meaning
obscure. There are a few variations, however, which
are unaccoiinted for by this exphination. Hiere are
considerably fewer words italicized here than in the first
foho. The principle of itahcization is more consistent
and intelligible in Ga than in the original, but its apph-
cation here prevents the text from appearing exactly as
it did at first. The following are typical instances of
change : i. 5. 93 christendome ; 2. i. 60 Mart ; 3. 5. 20
emphasis; 3. 6. 36 Bride- well (these words appear in
itahcs in 1616). The following additioikal variations from
the originals used for the present text are to be noted :
I. 5. 126 gentlemens vse 1616, gentlemen use Ga; 3. i.
105 Bobadill 1616, B badill Ga ; 4. 7. 135 yoiu" consort
1616, you consort Ga. This text is the most critical
and satisfactory which has yet appeared.
Relatively few textual variants have been recorded
^ While this present edition baa been in pr«u Feicy Simpson's
edition 0/ Evtry Man in His Humor has appeared (Oidord
University Fieu, 1919} .
n,g,i,7c.dbyG00'^lc
Editions of the Text xxxi
as footnotes to the text in this edition. As A. C. Jud-
son pointed out in his edition of Cynthia's Revels (pp. xx,
xxi), the situation is rather unusual here. The foho
of 1616 was published imder the supervision of Jonson
himself, he being thus his own editor. With few ex-
ceptions, later editors have rather unifonnly utilized,
aot the original foho, but the edition immediately prece-
ding their own, as a basis for the text. Fumess, in justi-
fying his exact reproduction of the foho of 1623 as the
text for his variorum edition of Shakespeare, says : 'Let
the ailment, therefore, appear in all its severity in the
text, and let the remedies be exhibited in the notes.' ^
. Judson, in commenting upon thepassage, remarks (p. xxi) 1
'A reproduction of all variations, however, in the case of
our play, would exactly reverse the process ; it would be
exhibitii^ the ailments of subsequent editions in the notes,
the remedy for which appears in the original text.' It has
been the pohcy of the present edition to characterize and
evaluate, in the Introduction, so far as possible, the work
ofthevarious editors, relegating to this place, also, changes
uniform in a given edition, and those due to general Un-
guistic changes, Stagedirections from later editions, and
textual variants which may be regarded as emendations,
have been recorded in the footnotes to the text.
IV. COMPARISON OF QUARTO AND FIRST FOLIO*
Jonson, so often cited as the great example of the
'conscious artist,' in his revision of the quarto is caught
at his very processes of reflection. Seldom is so good an
opportunity afforded to study an author's method of
» OthtUo, p. vi,
' Cnibau appeoded to his repiint of the quarto a discusaioii of ita
reUtioii to the foUo of 161G. He connders general and Bpedfic difie-
rences, and divides the first class into difierences in the form, langnage,
and content of the play. The conaideratioii of form naturally concerns
n,g,i,7cd by Google
xxxij Introduction
composition, and his attitude toward his own work. The
years which elapsed between the writing of the two
versions of Every Man in His Humor witi essed a change
in Jonson's temperament, and in 1 is theory of literary art.
When the ItaUan version appeared, his rugged jaer-
sonality had not yet forced him to draw himself so far
aloof from his companion-aspirants to literary honors.
Though the conception of 'humor-comedy' was present,
in far more than inchoate form, in the earher play,
Jonson did allow himself to fall into a common con-
vention of his day in casting his play in an Italian mould.
itself principally with the act- and scene-divisioD. The schemes em-
ployed in the quarto (Q), (olio (F), and modern editions (ME), reapec-
e graphicall7 represented ii
Q
I, Sc.
the following useful table :
I.
I.
., I,
II, .
., II,
. n. ,
„ II.
. II.
.. II,
, III. ,
.. Ill,
, III.
., in.
. III.
., III.
, III.
.. III.
. IV.
.. ni.
, IV,
„ III,
6
. IV,
.. IV.
-
. IV,
.. V.
. IV,
. V,
IV,
8. 9
Grabau observes that tbe act- and scene-divisioa in F is better, in
that the long first act of Q is shortened. A desire for symmetry,
however, could not have been the poet's motive, since acts III and IV
are very long, and V very short. The content of the comedy must
have been the determining principle, and the fifth act is reserved for
the unravelii^ of all the knots which have been tied in the course of
n,g,i,7cd by Google
\
Editions of the Text xx!
The play was popular, and attracted the attention
the public. Jonson's determination,, meanwhile, to'sL^
the ragged follies of the time,' had crystallized into a
well-ordered program. What more natural than that
the first embodiment of his humor-idea should be freed
from its false dress, and fullj' assimilated to the Enghsh
life of which it was to become the exponent and teacher ?
The gratifying result of th's revision is to be seen by a
comparison of the two texts. •
The types of changes made can, perhaps, best be re-
alized by airanging characteristic examples under select-
ed categories. This method involves certain inevitable
disadvantages. A category is never large enough com-
Ihe play. Bat this does not make clear the plan followed in the other
acts ; e. g., the division of Act 1 in Q seems more appropriate, since
it contains the exposition of the whole piece, with the introduction
of all the characters and ' humors,' while in F a part of this is carried
over into Act II, Acts IV and V have no scene-division in Q ; these
can readily be inserted, however, since the exits and entrances are
more carefully indicated than in F, which, on the other band, divides
into scenes. In the lirst three acts of Q. with one except ion.(III, i and:),
a new scene is counted only when a change in the scene of action
occurs. F makes a division at the entrance of a new person Q and
F are both very sparing in stage-directions, and these have been added
by modem editors. The scene of action is never told in either Q
ot F, but must be deduced from the matter in the scene (see note on
Cash, 3. 5. 63),
Modern editions following the text of F adhere to it only to act-
division, going back, in general, to Q for scene-division.
II. Language.
Grabaa discusses this point under the following cat^[orie8, citing
two or three illustrative passages for each point:
I. Shortening by the omission of words.
3. Introdaction of more familiar forma of words and easier sen-
tence-structure.
3. Improvement of diction by mota acnte thinking and sharper
discrimination.
4. Substitution of concrete for abstract expressions.
by Google
xxxiv Introduclion
pletely to describe every aspect of the units which
compose it. So a difference of opinion may arise among
those who seeic to assign reasons for Jonson's alterations.
This method does make it possible, however, to classify
the material, and to render it easily accessible for readers
to criticize individually. The lists could not be made
quite mutually exclusive, and do not aim at completeness,
since certain differences could be discussed more fully
and appropriately in the notes. It is hoped, then, that
by means of the parallel texts, this introductory dis-
cussion, and the comments in the notes, the relation
between the two versions will be made clearer than ever
before. The categories discussed are as follows : (i) lo-
calization of scene in England ; (2) condensation ; (3)
expansion ; (4) change of abstract expressions to con-
crete ; (5) more direct and simple expressions ; (6) less
simple expressions ; (7) more vigorous or forceful ex-
pressions ; (8) insertion of words of more specific reference
to persons ; (9) insertion of qualifying adjectives or ad-
5. Inboduction oi figures of speech, and improvemeDt of those
already found in Q.
6. Completion or better expreSEian given ta poet's thoi^hts by
additions.
7. General change in oatha and imprecations.
III. CoMUnl.
Graban mentions and illustrates the change ot sceae from Italy
to England at this point. An article by Buff is cited in commenting
npon certain passages in Q which help to explain F (see efntome of
Buff's theory on pp. 430—1). Comments are made upon examples of
deepened motivation in F (Q i. 1. 148 &., F i. 3. Sofi. ; Q 3. a.
ifi.. F 3. 5. rff.; 0 3 2. 51-34. F 3. 3- i32->34. 3- 5. 33-57).
The characterization is briefly analyzed, and the article closes with
a consideration of the passages entirely altered in F, and of the con-
densation of the fifth act in the latter. Grabau's opinions on theM
difieroit matters can best be cited, where necessary, in the places
where the same -topics are discussed in the present edition.
n,g,i,7cd by Google
Editions of the Text xxxv
verbs ; (lo) introduction of figures, and improvement in
existing figures ; (ii) better sentence-structure ; (12} read-
ings more appropriate to context ; (13) syntactical changes;
(14} elision ; (15) change from solemn forms ; (16) change in
oaths ; (17) changes without clear reason or improvement.
1. LOCALIZATION OF THE SCENE IN ENGLAND
Even in the Italian version the foreign setting was but
nominal.' It was England throughout which formed
JoDSon's mental background. As Plautus always de-
picted Rome, wherever the scene of the play was supposed
to lie*, and as the substance of the New Comedy was
drawn invariably from contemporary manners," so Jon-
son, in his first essay at 'humor-comedy', sought to
reveal the foibles of his own generation and people. Still
the transfer of the scene to England, and more narrow-
ly to Lond<m, had great advantages. Since 'humor-
comedy,' at its inception, was nothing if not local in its
application, the Italian dress, however thin, tended to
obscure its real purpose. Then, too, the closer locah-
zation of the action in definite places, and the greater
number of these mentioned, show a clearer mental con-
ception of his own story on Jonson's part, and help to give
it hfe and interest. One conversant with old London
could follow in imagination, without difficulty, the chan-
ging scenes of this play.* ' We open Every Man in his
' Cf. note on 4. 8. 19.
■ CaUins, Cotnic Drama, p. 31.
* Cnnset, Histoire it la LitUrature Gncqua 3. 613.
* Grabau (,Shak.-Ja^bueh 38. 80): 'Das Lokalkolorit von Rorenz
ist da ganz blasws, wir finden our aJ^emeiiie Bexeictmungen, die
jedenfalls darauf hindeuten, dasa dem Dichter nicht etwa wiikliche
FlorentiQer Anschauungen en Gebote standen. ... In der Folio giebt
CI keine allgemeinen Bezeictmnngea, allea ist so genau lokalisiert, dass
wii der Handlnng mit der Karte in der Hand folgen kdnnen, und znar
nur mit der Karte von London.'
n,g,i,7c.dbyG00'^lc
xxxvi Introduction
Humour : Master Stephen dwells at Hogsden. but he des-
pises the "archers of Finsbury and the citizens that come
a-ducking to Islington Ponds," We look upon the map
of Elizabeth's time, and there we see Finsbury field
covered with trees and windmills ; and we understand
its ruralities, and picture to ourselves the pleasant mead-
ows between the Archery ground and Islington. But
the dwellers at Hoxton have a long suburb to pass before
they reach London. "I ana sent for this morning by a
friend in the Old Jewry to come to him ; it is but crossing
over the fields to Moorgate." The Old Jewry presented
the attraction of "the Windmill" Tavern; and near it
dwelt Cob, the waterman, by the wall at the bottom
of Coleman Street, "at the sign of the Water Tankard,
hard by the Green Lattice." '^ To pass from the
earher version to the later is to leave a section of life
often vaguely, and alwajra inaccurately located, except
where English names appear, and to pass to another
highly realistic, and situated in the very centre of the
region most familiax to every Londoner. The much-
quoted lines from the prologue to the Alchemist embody
Jonson's reason for the scene of his comedies:
Our scene is LondoD, 'cause vc would make known.
No country's mirth is better than our own :
No clime breeds better matter for your whore,
Bawd, squire, impostor, many persons more,
Wbose manners, now called humouia, feed the stage,
And which have Etill been subject for the rage
Or spleens of comic writers.
The following hst shows, " in small compass, the method
' Knight, London i. 368.
' This list, while not lar from complete, does not aim to mention
every place named in both versions, but rather fully to iUustrate
every variety of change. Note should be taken that in two instances
'3' 4' 97 ; 5- 1 ' 376) English names appear in Q, and that in P, in one
iiutance (4. g. 10). an Italian ua
n,g,i,7cd by Google
Editions of the Text xxxvii
of alteration, which consists partly in omitting Italian
names, and partly in introducing a variety of English
ones.
t. I. 86 & thousand poundelaad
1. 1. 120 a gentlemsD of Flor-
1. I. 131 the rich Fiorgntine taei'
I. I. 144 at FloTtn^t
I. 2. 61 sing Ballads
I. 2. 84 to Flortnct
1. 3. 66 ODe Af. ThoreUoi
I. 4. II He is e'ene the honest-
est laithfull seniant. that is this
day in Florence
I. I. 12 in both our vitiversities
1. I. 4() Because I dwell at
Hogsden, I shall k«epe com-
paDie with none b jt the archers
of Finsburre ? or the citizeos,
that come a ducking to Isling-
ton ponds ?
I. 2, 4 a, thousand a yeare,
Middlesex land.
I. 2. 45 a gentleman i' the citie
I. 2. 56 the rich merchant i' the
old lewrie
1. 2. 72 i' the old lewrie
I. 2. 75 Doe not conceiue that
antipathy betweene vs and
Hogs-den
I. 2. 63 our Turkie companit
1.2.93 From the wind-mill.
From the Burdello, it might
The Spitlle : or Picl-halch
I. 3. 65 troU ballads for MT
lohn Trvndle
I. 3. 96 to Mote-gate
I. 3. IZ4 Drake's old ship, at
Deifard
1. 4. 73 one master Kitely's. i'
the old lewry
z. I. 10 on the Exchange
2. I. [4 He is a iewell
the Hospilall
in the sight oE Fleel-
n,g,i,7cd by Google
g
} Florenct
1.3.214 by Saint Anthonies
3. I, 56 I were Roohi
3. 2. 30 of one of the deails
neere kinsmen, a. Broker
3. 3. 31 he is the Gonfaliontre
3. 2. 58 in Padua
3. 2. 144 you seru'd on a great
horse, last geDeralt muster
3. 3- 33 I Ki" nobody to be
). 5. 20 honestest old Troian in
aU Italy
(. 1. 116 in diuers places of the
citie: as vpon the exchange,
at my lodging, and at my ordi-
4. 1. 166 for the wealth of Flor-
met
4. I. 381 at the Fritry
2. 4, Q ouer More-fialds, to
London
I. 5. [45 Hee will hate the muS'
ters at Milt-end for it
3. 2. S3 in Colntan-slrtet
3.1.69 in Thames-slreei or at
Custome-houae key
3. 3. 65 . taike for th' Exekange
3. 5. 31 Of a Hounds-ditch man,
air. One of the deuil's neere
kinsmen, a broker
3. 5. 51 be is a ci tie-magistrate
3. j. 58 i' vniuersitie
3. 3. 147 your name is entred in
the ariitlerit garden
3. 6. 36 1 am a vagabond, and
fitter for Brideweli, then your
worships companie. if I saw
anybodie to be kist
4. 4, 22 honestest old braue Tro-
ian in London
4. 7. 4S in diuers skirts i' the
towne, as Turne-bull, Wkite-
chappelt. Share-ditch, which
were then my quarters, and
flnce vpon the Exehangt, at my
lodging, and at my ordinarie
4. 7. 104 for the wealth of any
one street in London
4. 8. 66 at the tower
a. CONDENSATION'
The passages altered by condensation are generally
decidedly improved. Occasionally a poetic touch van-
* This list does not take into account the rather consistent con-
densation of material in the fifth act. This is discussed more appro-
priately in the notes. At this point, the purpose is to illustrate Jon-
son's genera] method of abridging individual speeches.
n,g,i,7cd by Google
Editions of the Text xxxix
ished under the pruning-knife,* but, for the most part,
the changes reveal Jonson's a^ded power in conveying
the same idea with fewer words.
1. 1. 1 Now trust me, here's a,
goodly day toward
I. 1. 136 I pray you goe in, sir,
anA't please you
1. 1. 3 It scarse contents me
ttmt be did so
1. 1. 14 oh that I had a horse ;
by Gods lidde i'de fetch him
backe againe, with heane and
ho
t- 4. 3j let my coatiuued zcale.
Tbe constant and Tclisions re-
gard,
That / have euer caried to your
My cartage with youi sister
3. 3. Z30 bouse your selves
3. 1. 43 And my imaginations
like the' sandi,
Rnnne dribling foorth to fill
tbe mouth of time,
Still chaung'd with turning in
tbe ventricle
3- 2. i-j I thinbe the world can
not produce his Riuall
3' Z' 133 he nener comes hither
without some shreds of poetrie
3. 3. 107 drunken knaues
3. 3. 136 Nay but good Signior:
heare me a word, heare me a
word, yonr cares are nothing
4. T. 30 and all bent agaynat my
brest
4. t. 83 without all question
A goodly day toward
;. 59 pray you goe 1
. 3. 17 t> that I bad but a horse.
to fetch him backe againe
1.1.35 let my past behanior
And vsage of your sister
3, 3. bo withdraw
3' 3- 53 Wherein, my' imagina-
tions Tunnq. Uke sands.
3. 5. a9 I I
t his riuall
3. 3. 159 Hee nener comes vn-
fumish'd
3- 7. 60 drunkards
3, 7. S6 Your cares are nothing
4. 6. 33 at my bosome
4. 7. 9 beyond question
'E. g.
189: 3- I- «; 5- »■ 503-
n,g,i,7cd by Google
xl In^oduction
Q F
4. I. 334 conferme much more 4. S. 133 confinne much more
tlien I am abl« to lay downe
for him
5. 1. 414 this ia not to the 5. 4. 5 what is this to your ar-
pnrpoee touching your annonr mour
3, I. 419 Well disaime him. but 5. 4. 11 Well, stand by a while
ita no matter let him stand by
5. I. 447 are yoa an Author (ir, 5- S' 9 A po»t J I will chal-
giue me leaue a little, come on lenge him myselfe. presently,
sir, ile make verses with you at extempote
now in honor of the Gods, and
the Goddesses for what you
dare extempore
a. also: Q 1. 1. 3, F 1.1.4; Q. 1.1.60. F 1.1.63; Q 3- 3- "•
F 3. 7. 18 ; Q 3. 3. 128. F 3- 7- 85 ; Q 3. 6. ao. F 4- 5- ao ! Q 3- «• 3^.
F 4-5.3I; Q 5- I. 149, F4. II. 47; Q 5. 1.15a, F4. 11.49; QS-t-
154. F 4- II- 50; etc
3. EXPANSION
As Jonson showed skill in condensing the material of
the earlier version, he knew also how to expand it to
advants^e. The general motive for the additions appears
to be a desire to create a clearer exposition of the thoughts
in mind. The genn of the idea is often buried in Q, and
only comes to its full growth and expression in F. His
ideas have doubtless been em^iched also, so that there is
more in his mind to be conveyed.
Q F
I. t. 19 idle Poetrie i. i. 18 idle poetrie.
That fruitlesse, and vnprofit-
able art.
Good vnto none, but least to
the professors.
Which, then. I thought the
mistresse of all knowledge
I. 1. 83 gentilitie x. t. S9 geotilitie.
Which is an aerie, and meere
borrow'd thing.
n,g,i,7cd by Google
EiiUons of iht Text
1.1.137 Now (without doubt)
tfak letter's to my soime.
Well: aU is one
of this coDspirade
stay Ilia ioumey
He ii no poritane
). 1. 139 remembei, silence, ba-
). I. 143 nener ride me with
your coller, and yon doe, ile
«bew yon a, iades tricke
184 tbey Bmoake for it
3. 3. 60 I 01 wearing his doake
of one shoulder
3. 3. iiB Doe yon prate
3. 3. 9 how they iting my heart
Deare master Doctor
' From dead mens dost, and
1.2. 61 This letter is directed
Yet, I am Edwaid Kno'well too,
and may
With the safe conscience of good
The lellowes error to my satis-
faction
3.4.10 of this bunting-match, or
rather conspiracie
2. 4. 17 to cut him off, that is,
to stay his ioumey
3. 3-94 H' is no precisian, that
I am certaine of.
Nor rigid JIoMan-catbolike.
Hee '11 play.
At Faylts. and Tich-iack, I
haue heard him sweare
3. 3. 144 keepe this from my
wife, I charge you.
Lock'dvpinsilence, mid-night,
buried here
3. 4. 9 though I carry, anddraw,
water. An' you offer to tide
me, with your collar, or halter
either, I may hap shew yon a
jades trick, sir
3. 4. 51 they smoke for it, they
are made martyrs □' the grid-
3. 5. 60 I, or wearing his cloke
of one shoulder, or seruing of god
3. 5. laa Doe you prate ? Doe
yon murmore P
3. 6. 9 how they sting my head
With forked stings, thus wide,
and large
3. 7. 73 Deare master lustice ;
Let mee bee beaten againe, I
n,g,i,7cd by Google
I air Uiey went ii
3. 3. 30 I faane it h«are will
nuse him
4. 1. 17S Before God it was he :
yon make me sw«are
136 I must arest you sir 4.
haue desem'd it : bat not the
prison, I beseech you
4. 3. 44 I, sir, they went in.
My miatris, and your sistec
4. 4. 20 but I haue it here in
black and white : for hi3 black,
and blew: shall pay him
4. 7, 116 Sir, keepe your hang-
ing good, for some greater
matter, for I assure you. that
11.37 ' haue a warrant I
mast seme vpon you, procur'd
by these two gentlemen
Cf. also : Q I. I. 217, F i. a. 131; Q i. 3. 340, F 1. 5. 167
Q I. 4. 5. F a- 1-5: Q 3- I- 85. F 3. 4- 87; Q 3- 1- 178. F 3- 4- 44
Q 3- a. 148. F 3-5. 151: Q 3-3.85. F 3.7.33; Q 3-3-87. F 3.7.
3«; Q 3. 3. 90. P 3- 7- 4°' Q 3- 3- 96. F 3, 7. 47; Q 3. 4. 11. F 4. 1
0 3. 4- 75. F 4, a. 57: Q 3- 4- "99, F 4. 3. 41 ; Q 3. 4. aoa. F 4. 3.
44: C3.6. 14; F4.3. 13; Q3.6-39, F 4.S- 37; Q4- 1-4. F 4. 6.4;
Q 4- 1- 185. F 4. 7. 125; Q 4. '■ a^g. F 4, 8. 53; Q 5. i. 58. F 4.
57; Q 5- 1- a57. F 5. 3. 5; Q 5. i. 264. F 5. 3. la.
4. CHANGE OF ABSTRACT EXPRESSIONS TO CONCRETE
Not a little of the greater success of the revised version
ia due to its more specific tonf. This is secured in a
variety of ways, but is partly a matter of individual
words. The following are t3rpical instances :
1. I. 6 at his booke
[. I. 33 And reason taught me
better to distinguish.
The vainc, from th' vsefuU
learnings
[. 3. 112 But I perceine, affec-
tion makes a foole
Of any man, too macb the
father
1. 1. 7 at study'
[. 1. 2r And reason taught
them, how to comprehend
The soueraigne vse of study
1. 1. ig6 But now I see opiinoH
is a foole.
And bath abusde my sencea
* Th« &st three axunplea are noted by Grabau.
n,g,i,7cd by Google
Editions of the Text
1. 1. 47 for this tjine of the yeere
1. 1. 48 e're it be hmg
I. a. 112 doe not wrong the quk-
litie of your desert in so poors
3. 1. 53 No, there were no conr«
vpon the earth to tbis
3. 1. 57 the state that be hath
stood in
3. 3. 45 some diners reasons
4.1.29 till they had got me
within dooies
4. I. j2 expectation of some what
1.3.43 now
1.3.47 again' winter
I. 3. 115 wrong not the qnalitle
of yonr desert, with looking
downeward
3. 3. 63 No, there were no man
o' the eaitb to Thomas
3. 3. 66 the manner he hath
stood with
3 . 6. 46 some fine and fiitie rea-
4. 6. 31 till they had cal'd m»
within a hoQse
6. 56 expectation of wonden
S- MORE DIRECT AND SIMPLE EXPRESSIONS
Akin to the effect produced by the substitution of con-
crete for abstract expressions is the general simplification
of language which has taken place in the folio. The
extent of this reform is suggested by the following list :
Q F
1. 1. 10 (by any meane) retyre
my Sonne
1. 1. 13 The Ub'rall voyce of
double-toung'd report
1.1,71 Let not your caiiage,
and behanior taste
Of affectation.
1. 1, no To your vnseason'd
rnde compara tines'
1. 1. Ill Yet yowie demeane
your selfe, without respect
Eyther of duty, or humanity
I- 1. J7 Here is a ttyle indeed.
foiamanssences toleapeoner,
e'te they come at it
' Cited by Graban.
. I. S (by any practise) weane
:. I. II The liberall voice ol
fame, in her lefKirt
. 1 . 79 Nor would I, you should
melt away your selfe
In flashing brauerie
. 3. 33 To yonr vnseason'd,
quaixelliDg, rode fashion
. a. 34 And, stiU you huffe it,
with a kind of cariage.
As voide of wit, as of humanitle
. 3. 60 Here was a letter, in-
deede, to be intercepted by a
mans father, and doe him good
with him
n,g,i,7c.dbyG00'^lc
zUv
I, 4. 38 cariage with yonr sister
I. 4. 38 irith such obsemonce
I. 4. 39 So true electioii and so
falre a forme
I. 4. 43 And seemd as perfect,
proper, and innate,
Vnto the mind, as collor to the
blood
X. 4. 143 not transported
With heady rashnes
3.1.44 you are beholding to
that Saint
3. 3. 63 exterior presence
3. 3. 64 constitntioii of the mind
3. 3. 77 temper of your spirits
3. 3. 105 now shall I be possesst
of all his determinatioDS
3. 3. 7 value me
3. 3. 42 my father had the pron-
ing of your copy
3. 3. 63 mercy of the time
3. 3- 33D house yourselues
3.3.236 andour witsbesogowty
3. I. 3 yesternight
3. 1.63 term'd loue
3. t. 81 in some other forme
3, 3. 37 apparrelling of it
3. 3. S3 an excellent rare ciuiliao
3. 3. 17 My mind attir'd in
smoothe silken peace
3. 6. 31 she is a virgine of good
ornament
3. I. 36 vsage of your sister
3. I. 46 in such a fashion
2. J. 47 So fall of man, and
sweetnesse in his carriage
2. I. JO And seem'd as perfect,
proper, and possest
As breath, with life, or colour,
with the blond
3. 2. 38 not ore-high
Carried with rashnesse
2. 4. 44 there the Saint was your
good patron
2. 3. 94 outward presence
3.3.95 frame, and fashion of
his mind
3. 5. 108 mettall of yonr minds
3. 5. 138 now shall I be posseat
of all his counsells
3. 1.6 hold me
3. I. 43 my father had the full
view o' your flourishing stfla
3.1.66 mercy o' yoni search
3. 3. 60 withdraw
3. 3. 66 and our wits be so
wretchedly dull
3. 3. 5 last night
3. 3. 71 call'd loue
3. 3. 98 by some other way
3. 5. 38 clothing of it
3. 5. S3 an excellent good Law-
yer
.t rest too, in
3. 6. 18 My mind a
so soft a peace
4. 5. 30 shee is a maid of good
6. LESS SIMPLE EXPRESSIONS
Occasionally, however, the readings in Q seem more
simpk than those in F:
n,g,i,7cd by Google
Editions of the Text
4- 1. 03 I tKngbt yoQ a Iriek
4 . 1 . 91 did yoa nenei play «itb
any of oar maisters hna
1. 103 if so they would atUnd
L. 109 hftth got them
1-134 *" private
I. 146 a fricA
4. 7. 8 I taught you prttuntion
4. 7. 18 did you euer^oM your
selft, vpon any of our masters
of defence, here
4. 7. 30 if so they would gitte
their allendanct
4. 7. 38 haue purcXas'd 'hem
4, 7. 67 fiy tk« niAy of priuale
4. 7. So a cAarac(«r
7. MORE VIGOROUS OR FORCEFUL EXPRESSIONS
The intensifying of the lai^age of the early play
becomes a virtue <Hily when the situation demands it,
or the 'humor' of the character renders it appropriate.
An examination of the following passages in their con-
texts will ^ow that, with few exceptions, the more v^or-
ous, or even extravagant, language of the later play
better serves the purpose intended.
.. I. 65 I would not haue you
to inlnide yourstlfe
In enerie gentlemans sodetie
1. 1. Ill Yet yowle dtmeane
your selfe
I. I. 184 I rather thinke him
most inforiunate
1 . 1 . 1 88 milk so prophane a pen
I. 3. 131 tliis is weU
I- 3. 27 f%uU ignorance
I. 3. 134 any mans point
*• 3- « yoar oopy
3. 1. 93 we must be dose
;. I. 73 I would not hauc you
to inuade each place
Nor thrust your selfe on alt
societies.
I. 2. 34 still you Am//' it
I. 2. 100 lindgehima/ira^Aiine.
and dissolute teretch
!. t. 104 In such a scurrilous
I. 3. 135 that's resolute
I. 4. 34 raw ignorance
I. 3. 161 any enemies point
3. 1.44 your flourishing stile
3. 3. 109 we cannot be
Too private
.3. 3. 13a Be'l your speciall buii-
Now to remember it
n,g,i,7cd by Google
3- 1. 130 fhvi oi paation
3. I. ifiz for yov
3. 2. 87 exposing of rewmes
4. I. 3s they should haoe kUd
me first
4. I. 172 Locke yonder he goes
I thiuke
5. I. 97 h«aU your poors wife
3. I. 3*7 good M. Doctor
5. 1. 418 to came through Ike
street in my shurt
3. 3- 14S ftovd of passion
3. 4. aS for your monster-ship
3. 5. 89 expulsion of rhewmes
4. 6. 37 they must ha' disseettd,
and made an Anatomie o' me,
first, and so I told 'hem
4. 7. i!o Gods so', looke, where
he is : yonder he goes
4. 10. go Mak» a bundle o' htmpe,
o' your right and tanfuU wife
5. 3. 66 excellent lustice
5. 4. 9 to dot penance through
the street, i' my shirt
The more intimate tone of F is partly secured by having
the characters refer more specificaUy and definitely to
each other. The following are typical instances:
t.2»
vncle
how doeth my cousin.
1. 1. 29 Mow doe my coussin
Edward, vncle
1.29
Oh weU. weU
I. 1. 30 0. well cousse
I. SI
Take't as yon will
I. I. 57 Tak't as you will sir
I. 91
you do not flout, do you
I. a. II You doe not flout, /rt«)«J,
doe you
2. 18
Yes sir
3-144
that euer you heard
1.5.6a that euer you heard.
Captayne
3-5«
in the last quarter
3.1.33 in her last qnarter
3-7°
cousin
3. 1.73 ovmt cousin
3-79
for him
3. 7. 27 for him ? fri»nd
4- 160
Hold, hold forbears
4.2.136 Hold, hold, pwxigwi/e-
4. 1. 443 ilo procure 4. 9. 67 lie procure you
5. I. 13 yonr honestie 4. 10. 12 Yonr honestie ? dama
5. 1. 90 keepe yonr dores shut 4. 10. 61 keepe your dores shut,
Is'bel
5. 1. iQS but Lady 3. 1. 13 but, ntistris Kiltly
n,g,i,7cd by Google
Editions of the Text
5. 1.3*7 a wairant j. 3. 15 my wairant
5- 1. 376 yonr worshippes man 5. 3. 24 your wonhip's man,
m»sltr Formal
The following may be noted as exceptions to the fore-
gdng [sinciple :
4.1.341 but brotlur Prosp«to 4.8.133 but thia motioii
this motion
S- 1. 353 mtisUT doctor 5' 3- 1 bu
9. INSERTION OF QUALIFYING ADJECTIVES OR ADVERBS
The mere piling up of adjectives or adverbs is not a
recognized literary merit, but in the present iikstance the
additions are usually advantageous, as helping to make
Jonson's meaning clearer, or to reveal more graphically
the 'humors' of the various characters. This is more
apparent when the passages are read in their contexts.
e prowd.
1. 1. 118 I will be more melaa-
I. 3. 136 most shallow pittifull
fellowes
I. 3. 165 was most beautifnll
1.4.5 Let ^ata teU oner
■ ■4.91 ont of their distracted
1. 3- 155 A prouant Rapier
3- J- 171 I pray thee Cob
}- J. 63 a neighbour of mine
3- 3- <io aweete Gentleman
3. 3. 10 honestest old Troian
4. 1. 41 great many merchants
and rich citiiens wines
[. 3. 133 I will be I
and melancholy
I. 5. 53 most shallow pittifnll
barren fellowes
[. 5. 83 was moat p»T»mptory-
beantifull
[. 5. 133 very rare, and im-in-
one-briath-vUer-ablt skill
t. t. 5 Let him teU oner, t^B^M
t. I. no ont of their impetnons
rioUng phant'sies
;. 1. 1G5 A ^oors prouant rapier
J. 4. 38 I pray thee, good Cob
}■ 7. 7 a poore neighbor of mine
3. 7. 63 sweet old gentleman
4. 4. 33 honestest old ftraw* Tfo-
4. 6. 44 great many rich mer-
chants, and braue citizens
n,g,i,7c.dbyG00'^lc
I. 83 if jron be bo miiided
1. 113 for no other reason
1. 137 vpon my heade
1. 173 what lucke
I. 230 my brother
I. 267 this is rare
1. 369 Hy youth
1. 178 madde kaaae
I. 331 very etrongly affected
1. 134 in the market
7. 10 if yon be so gtnetattsly
minded
7, 41 for no other vile reasoa
on the earth
7. 70 vpon this poort head
7. HI wtuit pttuith luck
8, 13 my wiie brother
8, 51 this is ptrftctiy rare
8. 33 my pTOptT tint . peo-
8. 63 suectsstfttU merry km
8. 119 very strongly, and k
aiiy affected
:i. 35 in open market
. 12 false
to. INTRODUCTION OF nCURES, AND IMPROVEMENT
IN EXISTING FIGURES
Figures of speech do not bulk large in this play, but
the second version contains the greater number.
1. 1. 13 The lib'rall voyce of
donble-toang'd report
1. 1. 77 Cosen, lay by such
BnperfidaU formes.
And entertaine a perfect reall
substance
1. 1.312 To stay the hot and
lustle course of youth.
For youth restraind straight
growes impatient,
And (in condition) like an eager
dogge
2. 3. 8 so much out of mine
honor It reputation, if I should
but cast the least regard
2. 3. 93 Would they were kindl-
ed once, and a good fire made
:. I. ti The Uberall voice of
fame, in her report
:. I. Sj I'ld ha' you sober, and
containe yourselie;
Not, that your sayle be bigger
then your boat
:. 2. iz6 The vnbridled course
of youth in him : for that,
Restiain'd. growes more im-
patient, and, in kind.
Like to the eager, but the
generous grey-hound
;. I. 7 somuchoutof thesnnne-
shine of reputation, to through
the least beame of reguard
1. i.ioo Would the sparkes
would kindle once, and become
a fire amongst 'hem
n,g,i,7cd by Google
EdiHoHS of the Text
t. 3. 304 wh&t winde tuth 3. 3. 40 what breath of a con-
Uowne thee hitlier in this shape iuret, hatb blowae thee hither
in this shape
1. 3. 206 Your Easterly winde 3. 3. 43 The breath o' yaur
sit letter
3. 3. 46 he has follow'd you
ouer the field's, by the foot, as
yon wonld doe a hare 1' the
3.3.309 be la come to to'
purpose to seeke you
3. 1. 91 aa firiDe a
4. 1. 76 did you e
3. 3. to8 as fmne as rock
4. 7. I did yonr eyes euer U
II. BETTER SENTENCE-STRUCTURE
Less numerous than simply verbal changes, but quite
as effective, are the instances where Jonson has reworked
a sentence to make it a more serviceable vehicle for his
thought. Greater clarity, smoothness, and better em-
[jiasis are often secured by the changes. A few are dted
here, and others are analyzed in the notes.
Q F
1. 1. 130 I was requested by a'
gentleman vf Florence (hauing
some occaaon to ride this way)
1.1.180 Is this the man. my
Sonne (so oft) hath prays'd
To be the happiest, and most
That euer was familiar with
Art
1.3.3 But Mvseo didst thou ob-
seme his countenance in the
reading of it. whether hee were
angrle or pleasde
3. 3. 54 and yet to see an in-
giatitnde wretch
• Cited by Grabau.
1. 3. 45 I was requir'd by a
gentleman i' the citie, as I rode
out at this end o' the towne
I. z. 93 Is this the man.
My Sonne hath sung so. for the
happiest wit.
The choysest braine. the times
hath sent vs forth
I. 3. 3 What countenance, (pr'y
thee) made he, i' the reading
of it ? was be angrie, or pleas'd
3. 6. 35 and he to tome monster
of ingratitude
n,g,i,7cd by Google
1 Introduction
Q F
3. 6. 8 my imaginatiue forces' 4. j. 7 forces ol my phanf sie
4. I. 405 to procure vs a nairant 4, 9. 30 to procure a wairaot, to
for hJB arest of your maister bring him afore your master
19. READINGS MORE APPROPRIATE TO CONTEXT
Often Jonson's later reflection upon the play has led
him to see where a different tum to a phrase, or a new
word, would more clearly bring out the meaning he had
in mind. A few instances may be seen below, and to
these more could readily be added.
Q F
I. I, 108 tbe geniltman con- ' i. z, 31 the honesi man ieme»oes
taynes himself himseUe
I. I. 139 Make this Gtnilimait^ 1. 2. $g Hake this honest friend
drinke drink here
I. 3. IE miDeanceatiiecamefrom i. 4. 11 Miueance'triecamefiom
a kings hynti^ a Kings belly
3. 3. 34 such a gallant 3. y 23 such an artijictr
3. 3. 82 poysonoQS simple 3. 5. 83 poysonous plant
3. 6. 17 tell me tetdoitsly 4. 5. 16 tell me, ingantumsty
4. 1. 37 where by great miracle 4. 6. 40 whtnee, by great miracle
13. SYNTACTICAL CHANGES
Some syntactical changes occur. These are usually
discussed in their appropriate place in the notes, but
may be emphasized by a few typical examples here.
Q F
1. I. 9 would I I. I. 7 should I
1.1.29 I doubt bee's scarce i. i. 30 1 doubt he be scarce
stirtiiig stirring
1.3. 133 as some be 1. 5. 37 as some are
I. 4, ig As feariug to abuse your 2. i. 28 As fearing, it may hurt
patience your patience
n,g,i,7cd by Google
Editions of the Text
4. 33 ^bat needs tbis ciicum-
37 if / was
■02 gainst I Tctume
164 leane raskall dales
18 vntesse it were
43 one Cobf house, a water-
. I. 31 Wbat ne«d tbis ciicam-
. I. 43 if I were
'gainst my retorne
leane rascally dayes
3- 3.
(. 6. 19 vnlesse i'
b«e
4. 6. 47 one Cobs hoase, :
water-
for tbere be sentinellea 4. 8. 3 where there are sentinells
It would be tedious and unprofitable to enumerate
many of the elisions found in F. It is a fairly consistent
change. A few examples are cited below and others are
quickly to be noted from the parallel texts r
15. CHANGES FROM SOLEMN FORMS
One of the changes contributing to the greater appro-
priateness of this play as a transcript of ^glish life and
manners is the omission of solemn forms in F. A few
typical examples follow:
n,g,i,7cd by Google
8
I. 3- 76 teacbeth
I. 3. 76 doth
[. 3. 84 Mith
I. 3. 61 I
(. 4. 45 hath
|. I. 313 toncheth
{, I. 259 cbargeth
I touches
Occasional examples occur where solemn forms from
3 persist or new ones are added :
. 3. 89 your
.53 thy
. 5. 105 the
. 3. 103 thou, etc.
16. CHANGE IN OATHS >
Oaths form a very distinctive feature of this play in
both versions; probably no one of Jonson's has more.
They are considerably filtered in the foUo, and, for the
most part, softened. Direct references to the Deity are
avoided, and the most objectionable expressions changed
to others less displeasing, PubUc sentiment had become
aroused against the wide-spread use of oaths, and in 1605
-6 an act to restrain the abuses of players was placed
upon the statute-books : ' For the preventing and avoid-
ing of the great abuse of the Holy name of God in stage-
plays, enterludes, may-games, shews, and^uch hke; (2)
be it enacted by our sovereign lord the kings majesty,
and by the lords spiritual and temporal, and the commons
in this present parlement assembled, and by the authority
* An interestiiigarticle an figures of imprecation, by A. E. H. Swaen,
may be found in Englische SludieH 94. 16-71, 195-139- Alloslona
to it occur in the Explanatory Notes of this edition.
n,g,i,7c.dbyG00'^lc
Editions of the Text lui
of the same. That if at any time or times after the end
of this piesent session of parhament any person or persons
do or shall in any stage play, enterlude, shew, may-game
or pageant, jestingly or profanely speak or use the holy
name of God, or of Christ Jesus, or of the Holy Ghost,
or of the Trinity, which are not to be spoken of but with
fear and reverance, shall forfeit for every such offence by
htm or them committed ten pounds : (3) the one moiety
thereof to the Kings majesty, his heirs and successors,
the other moiety thereof to him or them that will sue for
the same in any comt of record at Westminster, wherein
no essoin, protection or wager of law shall be allowed
(llarginaJ note — 'The penalty of players on the stage, Etc.,
jffofanely abusing the name of God").'^ 3 James I,
ch. 21. An exact enumeration and comparison of the
oaths in Q and F is difficult, because of the varying
lengths of the two versions, and the complete change of
text in places. Enough data can be presented, however,
to show that the majority of oaths were softened in F. *
> Gtfiord (ed. Every Man Ih, p. lo) writes, after remarldag that the
<]narto ia ' shocldngly profane ' : ' Better knowledge, or the dread of
a Kcenaer, subsequeotly taught him to correct this dangerous propen-
uty, or at least to indulge it with more caution, as a very visible im-
provement in this respect is manifested in the foHo copies of this and
every other play.* Wieatley (p. xUii) cites Jonson's Epistle to
Master Colby, 'To Persuade Him to The Wars" {Whs. 8. 360), where
the following counsel is found :
And last, blaspheme not; we did nevei hear
Man thought the valianter, 'cause he did swear.
* Wheatlejr says of the oaths (p. xlii) : 'Most of them are changed
in the fdio edition, although they are not necessarily softened to any
extent ; and it seems strange that, while the effect of the law is seen In
the material alterations made from Shakespere's quartos in the first
tofio of 1623, so little improvement should be seen in Jonson's folio
of 1616 irom the quarto of 1601.
n,g,i,7cd by Google
. Oaths altered and softened
1-3-
Q
,43 by Gods will
. 104 by Gods lid
. 113 fore God
'■ 93 ^y God
X.C oa the bangman
1. 4. 334
u in despight of hell
3 3. 50 damn'd dissolute vitlune
3, 3. 153 a pox of God on him
3. 3. 35 God'a my judge
3. 3. 143 Gods pasuon
3. 4. 1$ they should hane beene
damn'd
3. 4. 94 I would I might be
damnd else
3. 4. 146 by the will of God
3. 6. 39 by S. Mark$
4. 1 . 78 by lesu
4. 1. 169 by heauen
4. 1. 187 body of S. G$orgt
4. 1. 393 by lew
4. 1. 419 before God
5. 1. 136 by Gods slid
3. 1. 174 Gods bread
:. I. 46 by gads lid
. 3. 38 by this cudgell
. 3. 36 fore heauen
. 3. 104 by my fackios
[.4.94 a louse for the txang-
:. 3. 75 In spight of this black
|. I. 50 dissolute yong fellow
|. [. 163 a hundred of lice goe
with him
{. 6. 36 Then, I am a vagabond
(. 7. 93 mirth's my wituesse
|. t. 16 they should hau« beene
pcrboyl'd
|. 3. 69 I, would I might bee
hang'd else
(. 3. 122 by this Steele
f. 5. 38 by this hand
t- 7' 3 by this day-light
(. 7. 108 by the br^t snnne
4. 7. 128 body of me
f. 9. 18 by Ivpiter
t. 9. 44 as I am a gentleman
4. II. 36 I tell you, truely
4. II. 71 'Sdeynes
Cf. also: Q i. 1.83, F 1.3.1; g i. 1,98, F i. i. 19: Q i.3. 81.
F I. 3. 85: Q 1. 3. 9a. F I. I. 6; Q i. 3. 136, F i. 5, 52; Q 1. 3. 161.
F I. 5. 78; Q I. 4. 136. F 2, a. 30; Q I. 4. 191. F 3. 3. 40: Q I. 4.
197, F 2, 3. 46 ; Q I. 4. 199, F 3. 3. 48 ; Q i. 4. 307, F 2. 3. 58 ;
Q 3. r. 23, F 2, 4, 35; Q 3. 1, 91, F 3. 4. 96; Q 2. 2. 43, F 3. 5. 73;
Q a. 3. 48, F 3. 5. 78; C a. a. 54. F a. 5. 84; Q a. 3. 89. F a. 5. "o;
Oa-3-7. F3-I.6: Q».3-»o. F3. 1. 10; Q I. 3. 78. F 3. 1,85; Q 3.
3-83, F 3.1.90; Q 3.3.159. F 3. 1. 170: Q 3.3.319. F 3.3.38;
Q 3. 3. 66, F 3. 5. 67; Q 3. 9. 108, F 3, 5. iia; Q 3. 2. laj, F 3. 5.
»a9; Q 3- a. 136, F 3. 5. 130; Q 3. 4- 39. F 4. 3. 17; Q 3. 4. 47, F 4.
a-a?: Q 3>4*9i> F 4.a.63; Q 3.4.103, F4.3.7B; Q 3- 4- fj.
n,g,i,7cd by Google
Editions of the Text
47: Q 5-
3. Oaths altered, but not materially softened
I. 3. 74 by the life of Pharaoh i. 4. 82 by the foot of Pharaoh
I. 3. 77 By Phoebus i. 4. 8j By St. George
r. 3. 125 by the hart of myselfe i. 5. 39 by the heart of valour.
I. 4. 195 Oh lesu
I, 3. 171 Oh. Gods lid
3. X. 100 By gods deynes
3. 3. 105 for gods loue
3. 6. a6 Sblood
X. 3. 44 Oh, the lord
3. 2. 12 By gods will
3. 5. 104 By gods mee
3. 7. j8 fqf gods sake
4. 5. 15 Shd
CI. also: Q 1.4.60, F i. i. 68; Q 3.1.1. F 2.4-1; Q 2.3. "3.
F 3- I- "5; Q *■ 3- 149. F 3- I. >59: Q ». 3- i04. F 3- 2- 4°: 0 3-
2. 160, F 3. 3. 163; Q 3- 4- 6. F 4- i- 6; Q 3- 4- M. F 4- I- >4; Q 3-
^. 121, F 4. 2.-96; Q 3. 3. 6. F 4. 4- 6; Q 4. 1- 30. F 4. 6. 54; Q 4- 1.
137. F 4-7.70: Q -I- 1-191. F 4. 7. 132; Q 4- I- 207. P 4. 7- 149.
ItwillbenotedthatmexampleslikeQi.3. 77, Fi,4. 85;
Q2. 3. 115, F 3. 1. 125 ; Q 2. 3. 149, F 3. 1. 159, the lan-
guage of F is more objectionable than that of Q. A few
oaths are identical in both versions, a few occur in F only,
and about 38 in Q only. These, however, throw no Ught
on the general problem, and it is hardly fair to base con-
clusions upon them, for reasons stated above.
n,g,i,7cd by Google
Ivi Introduction
17. CHANGES WITHOUT CLEAR REASON OR IMPROVEMENT'
It would be false to assume, however, that every verbal
change marks an tmmist£ikable improvement. In many
minor alterations it is difficult to see that any real better-
ment has been effected. Still, it must be noted that in
relatively few instances is the revised reading inferior to
the original. The following are tjrpical instances :
Q F
3. 3. 91 pretioDS ktrbt 3. 5. 93 precions wudt
3. 3- 85 what ptttext 3. 7. 34 what pretmct
3. 4. 91 its your pleasurt 4. 3. 6j 'tis your disposilion
3. 4. 171 Mis ancient hnmonr 4. 3. 10 his ancient humour
3. 4. 208 a fayrt young gentle- 4. 3. 33 a handsome yonggentle-
4. t. 87 too dull 4. 7. 13 too heauig
4. I. 353 vttint imagination 4. 8, 37 idle imagination
3. 1. 336 Did not I tell you 5. 3. 65 1 told you all
5. I, 416 Marry sir it hung in y 4, 7 And't please you, sir, it
the rooniQ nhere they stript me hung vp, i the roome, where
1 was stript
Of. also: Q 3. 1. 137. F 3.4. s; Q 3. 4. 31, F 4.3.33; Q 3- 4- 77.
F 4.3.59; Q 3.4.160. F 4.3. 137; Q 3.4.164. F 4. 3.3; Q 3-*.
193. F 4- 3- 32; Q 3-6.ia. F 4.5-ii; Q 3-6.36. F 4.5-34; Q 4-
1.41. F 4.6.44; 0 4.1.46. F 4.6.50; Q 4- 1. 180. F4.7. U9;
Q 5. !■ 79. F 4. 10. 66; Q 5. 1. 150, F 4. 11. 48 ; etc
Such changes as the omission of Latin quotations (Q
1. 1. 153 ; Q 2- 3- 231 : Q 3- 1- 56 ; Q 5- 1- 396 ; Q 5- 1-
423 ' Q 5. ^. 44^}> tbe conversion of rhymed passages
into blank verse (Q 2. 2. i, etc.), the entire reworking
of certain continuous passages (Q 1. 1. 144, F i. 2. 71 ;
Q 2. 2. 1, F 2. 5. i) and the wholesale condensation and
I Wheatley write* (p. xzzvii) : ' There can be no question tbat
the altered version forms by far the best play of the two. but many
of the minor alterations cannot be said to be for the better.' Hart
(ed. Jonson, p. xxxlt) comments upon the same point : * It is not too
mncta to say that the whole play was rewritten, often in quite need-
less trifles, as tbongh an irksome compnlsiOD necessitBted It*
n,g,i,7cd by Google
Editions of the Text Ivii
alteration in the fifth act, can best be appreciated through
comments in the notes.
It is not easy to evaluate the quarto alone, since it
is usual to know the play through the later version, and
to return to the earUer one only for comparison. It is
certain that any universal denunciation of the Italian
play is highly unjust. It is conceivable that it shows
as great a superiority in the matter of typographical
correctness over many of the quartos of the day, as did
the folio over others of its kind. It must not be for-
gotten, eit|^er, that it is always brought into sharp con-
trast with the foho, which is acknowledged to have been
a marvel of correctness. It is easily seen, however, by
a comparison of the two texts that the mistakes and
infelicities are considerably more numerous in the first.
Had the revision never taken place, this would still
have been a highly significant play. Except for its mis-
leading Itahan disguise, the early version reveals all of
Jooson's revolutionary theories concerning the drama.
The conventional accoutrements of the typical drama are
discarded, though no prologue explaining his theory of
reform accompanies the play. The skilful adaptation of
themes from classical comedy, the minimizing of plot,
the depicting of manners, the development of characters
illustrative of 'humors,' were clearly present when the
comedy was published in 1601. The foregoing com-
parison has demonstrated how much more fully Jonson
realized his own idea when he made the play over. It
is difficult to determine how potent a force Every Man
in His Humor might have been in its less graphic and
less native form. Fortunately we need not determine,
since both are accesable to us. The praise of poetry
(Q 5. 1. 499 ff.), which sprang from Jonson's youthful en-
thusiasm, would in itself be sufficient excuse for preserv-
ing the early version.
n,g,i,7cd by Google
B. THE DATE
Tbe evidence from which inferences may be drawn for
the date of Every Man in His Humor is as follows :
1. The comodey of Umers is mentioned in Henslowe's
Diary on May ii, 1597 as a 'new play,' and was repeated
eleven times.
2. Every Man in His Humor was entered in the
Stationers' Register on August 4, 1600, with the notice,
' to be stayed,' and on August 14, 1600 (Arber, Transcript
3- 37. 169)-
3. In the Calendar of State Papers, Dom^tic Series,
Elizabeth, 1598- 1601, is found a letter from Tobie
Matthew to Dudley Carleton, dated September 20, 1598,
in which it is mentioned that one 'Almain' lost three
hundred crowns at a new play called Every Man's
Humour.^
4. In 1601, the quarto appeared, with the notice on
the title-page : 'As it hath beene sundry times publickly
acted by the right Honorable the Lord Chambertaine bis
seruants."
5. In i6i6. Every Man in His Humor appeared in
the first folio of Jonson's work, with the notice on the
title-page : 'AComcedie. Acted in the yeereisgS. By the
then Lord Chamberlaine his Seruants.' In the list of
actors at the end of the play Shakespeare's name is
included, and the following additional reference made to
thedate : . . . first Acted, intheyeere 1598 .... With the
allowance of the Master of Revells.'
6. In the quarto are found two passages which suggest
internal evidence for the date : («) Musco tells the elder
Lorenzo {Q2. i.57ff.) that he has served 'in all the prou-
inces of Bohemia, Hungaria, Dalmatia, Poland'; that
■ Ward, Hisl. Engl. Dram. Lit. z. 303 ; and Grabau, Shak.-Jahrb.
38. 81.
n,g,i,7cd by Google
Tiu Date lix
he was 'twise shot at the taking of Aleppo, once at the
reliefe of K*«i»a'; and that he had been at 'America
in the galleyes thrise.' {b) Bobadilla tells the junior
Lorenzo (Q 2. 3. 99) that he is 'thinking of a most honor-
able piece of service was perform'd tomorow; being
S. Marks day : shal be some te years' ; this was (Q 2.
3. 103) 'the beleagring of GhibeUeito,' which was the
'best leaugre' that he ever beheld, except 'the taking in
of Tortosa last yeer by the Genowayes.'
7. The folio also contains passages to be tested as in-
ternal evidence : (a) the same references are found here
as in (a) above, except that the 'Adriatique gulfe' is sub-
stitated for 'America'; (b) 'Strigonium' is substituted
for ' Ghibelletto," and a dash occurs in place of Tortosa;
(c) Young Knowell remarks (i. 3. 124) : 'Drakes old ship,
at Detford, may sooner circle the world againe,' with
the implication that this would be an impossible feat.
(d) Well-bred writes in his letter (i. 2. 83) : 'Our Turkic
companie neuer sent the hke to the Grand-Signior ; Tohn
Trvndk', the printer, is mentioned (i. 3. 65) ; the follow-
ing allusions to the Queen occur : (4. 7. 69) ' Were I
knowne to her Maiestie' ; (4. 11. 22) 'I arrest you, i' the
queenesname'; (4. 11.40) 'Ichargeyou, in her Maiesties
•i^ine'; (5.5.18) 'You must not denie the Queenes
lustice. Sir.'
These data have been variously interpreted. The na-
ture of the problems involved may be sufficiently ilhis-
trated by stunmarizing a few of the conflicting opinions.
Gifiord identifies the Italian version with The comodey
of Umers mentioned by Henslowe. This was first prod-
uced, he tells us, at the Rose Theatre by Henslowe and
AUen, in 1595 or 1596; it was a popular play, and was
mentioned by Henslowe eleven times between the 25th
of November, 1596, and the loth of May in the suc-
ceeding year. He assigned the publicittioa of Q to 1603,
n,g,i,7cd by Google
Iz Introduction
remarking: "There is not the least probability of its
having been given to the press by Jonson, \^ose name
is misspelt on the title page .... It had neither dedi-
cation nor prologue.' It was F, in his opinion, which
was first presented at the Globe in 1598, but this was
not published until 1616.
Nicholson* (Antiquary 6. 15—19, 106 — iio) has made
the most considerable investigation of the date of Every
Man in His Humor. His basic contention, in sharp
contrast to Gifford, is (i) that Q was first acted in 1598,
and by the Lord Chamberlain's servants ; (2) that it
was published by and under the superintendence of Jon-
son himself ; (3) that F was altered and revised from Q
about 1606. His arguments on (i) and (2) are briefly
as follows : (i) Gifford's dates are erroneous. The play
fpoken of was a ne (new) play, not produced on Novem-
ber 25, 1596, but on May 11, 1597; it was afterwards
played eleven times, up to July 13, and after endeavors
to resuscitate it, on October 11 and November 4, it
completely vanished. (2) Henslowe ten times calls this
play The comodey of Umers, and four times (including
an inventory taken 'after 3 March 1598') Umers; never
anything else. Neither is Jonson's name in any way
connected with it. The word humor was fashionable at
this time. To feel certain, as Gifford does, that this play
can be 'appropiated' for Jonson, is pure assumption.'
(3) Gifford's statement that Jonson, after he had al-
tered his comedy, regained the possession of it, 'accor-
> This article was summarized and criticised by CasteUin, But
Jomon, L'Homttu et L'CEuvre, pp. 878 ff.
* Wftrd {Hist. Engl. Dram. Lit. 2. 303) cKpiesses the opiniOD that Tkt
comodsy of Umers could not be identiiied with Jonson's play, and cites
a similar opinion from Collier {Lift of Shaft., pp. cbtv fl.) ; Fleay {Emglith
Drama, p. 55) writes : ' Th« Comtdy of Httmours, 1597, May 11. Cer-
tainly the «ame play as A Humorous Day's Mirtk. not Jonson's Bvtry
n,g,i,7c.dbyG00'^lc
T/u Date Ixi
ding to the custom of the times,' is a bare assertion, for
which there is no evidence.
(4) GifEord's only stated proof that Q was not given
to the press by Jonson is based on a supposed niis-
^)elling of his name on the title-page. Yet it is certain
that Jonson himself early allowed this spelling (see
Nicholson's article in Antiquary 2. 56, and note on lohn-
son in this edition, p. 258).
(5) Gifford's argument that Q had neither dedication
nor prologue has no weight. In Shakespeare's complete
works, edited by his actor-associates, there are no pro-
logues before his fourteen comedies, three only before
the same number of histories, and three before his thir-
teen tragedies. No one of Jonson's five plays up to
Sejanus, inclusive, had a dedication ; none but Sejanus,
1605, had a preface, except a note of five lines at the
bottom of a p^e before Every Man Out; Sejanus has
no prologue ; Every Man Out and Cynthia's Revels have
only an induction and a form of prologue ; The Poetaster,
1602, was the first with a prologue in the usual fonn.
(6) Gilford's argument contains the innuendo that
Hensiowe not only put forth his copy surreptitiously,
bat preyed it with the Ijnng statement that it was
acted by the Chamberlain's company.
(7) Assuming, with Gifford, that Q weis from Hens-
bwc's copy, why was it that he delayed pubhcation until
1601 ? His anger must have been aroused by the loss
of the improved play, and by Gabriel Spenser's death
at the hands of Jonson. In 1598 and 1599 the improved
play was in vc^e ; in 1601 it had comparatively passed
out of date.
.Wan in his Humour'; Aroustein {Ben Jonson, p. 27) thinks it highly
in^rDbablethatJonsoawsBcoocemed with the play of i3g7;Castelaiii
(p. S78) agrees with Fleay'sideatificatiQn of the plajrin question with
Chapman'9 play named above.
n,g,i,7cd by Google
Ixii Introduction
(8) Is it likely that, during the new version's success-
ful run at the Blackfriars, Henslowe would not have
tried to benefit by it, and have posted and acted it as
' the true and original piece ? '
(9} Is it likely that Jonson would have quietly gained
and accepted from Henslowe, as shown by the Diary,
forty shillings 'upon his writtinge of his edicions in
Geronym,' on September 25, 1601, after Henslowe had
surreptitiously published Q in 1601, with a direct lie on
the face of it ?
(10) Cynthia's Revels and Q were both published by
Walter Burre. Jonson would hardly have chosen him
for the pubUsher of his second play, had Q been the
surreptitious product of his press.'
■ (11) The title-pE^es are almost facsimiles of each other,
which is an indication that Jonson was the editor of both.
(12) The same motto from Juvenal appears on the
titlepages of Q and the quarto of Cynthia's Revels, which
were entered within ten months of one another. This,
again, suggests Jonson's personal supervision over both.*
(13) Q possesses, in an unusual degree, the characteristic
of accuracy, which Gifford himself accords to Jonson's
pubhcations, 'accuracy of printing, of text, of spelling,
and in especial an attention to punctuation,''
I Castelain does not regajyl tliis point as important, remaTking
(p. 879) that Jonson changed his publishers frequently, and did not
return to Burre until the publication of Catiline in 1611.
* Castelain (p. 879) turns this argument against Nicholson, and
remarks that the very breadth of Jonson's classical learning would
have rendered it improbable that he would have repeated a Latin
quotation in publisbiikg two different plays. Those who published
the play, however, might easily have chosen this as a clever way to
defy its real author.
> Cf. Bufi, Englische Sluditn i. i8i : 'The Quarto ol i6ot. besides
laying the scene into Italy, and other difierences, is very carelessly got
up, full of misprints and omissions, it is altogether of an inferior char-
n,g,i,7cd by Google
Tke DaU Ixiii
(14) The fact that it is in F that we find the notice
of the first production of Every Man In on the stage,
furnishes no real stmnbhng-hlock. Q and F were one
play — one in title, and one in general plot. Jonson him-
self held different versions of a work to be one and the
same play. Sejanus was first acted — and damned — in 1603.
In r6o5 Jonson published his altered and revised version
of it, thus prefaced : ' Lastly, I would informe you that
this Booke, in all numbers, is not the same with that
which was acted on the publicke stage, wherein a Second
Pen had good. share ; in place of which I have rather
chosen to put weaker (and no doubt less pleasing] of
mine own than to defraud so happy a Genius of his
right by my lothed usurpation.' Yet in the 1616 version,
the copy of this 1605, second, or Jonsonian version, both
in the title-page and at the end of the play, are placed
these words : 'First acted in the j^ere 1603,' a date only
appUcable to the original or double-author version.
Regarding the feasibility of 1605 or 1606 as the date
of the revision, Gifiord argues : (1) F closes with a sentence
not found in Q : ' Brayne-wonne ! . . . Whose adven-
tures, this day, when our grand-children shall heare to
be made a fable, I doubt not, but it shall find both
spectators and applause.' This indicates that Jonson
was no longer the young and poor author of a first play,
but one whose position was assured, and one assured
alsothathjs " works " will go down to posterity. (2) The
allusion to " Drake's old ship " would not have been per-
tinent in 1598, but in 1606 the derelict would have been
laid up for- twenty-eight years. (3) Q (3. 2. 93) reads :
"This speech would haue done rare in a pothecaries
mouth' ; in F (3. 5. 95) we find 'tabacco-tradeis mouth ! '
The change is indicative of the increased vogue of to-
bacco, and is evidence of the later date. These three
arguments Nicholson calls indefinite. (4) This is not im-
n,g,i,7cd by Google
Ixiv Jntroduction
mediately relevant, and may be passed over. (5) Nichol-
son regrets having been unable to trace GkibeUetto and
Tortosa} since these would have given the exact date
for Q. Strigonium was retaken from the Turks in 1595.
This would make the date of F about 1605. There is
every reason to suppose that both BobadiU and Jonson
sought reahsm, and that the reference to ten years was
approximately accurate. (6) When the Levant or Turkey
Company was reconstituted and re-chartered, in 1605,
James gave them five thousand pounds to be expended in
a present to the Porte. This explains Jonson's reference
(I. 2. 83), and helps to corroborate the 1605—6 date.'
Two series of objections to his theory are faced in con-
clusion : {a) the references to the Queen ; (6) Brainworm's
story of bis engagements in Bohemia, Hungary, etc.
On («) he remarks : (i) Jonson probably wished it known
that this was his first unaided and successful comedy,
which was written as early as 1598 ; (2) it may have been
dated back to avoid implication of having brought living
persons on the stage. (3) It may have been that the
fashion for 'humors' was beginning to wane, and Jon-
son would, therefore, 'by his references to an Elizabethan
date both gain in verisimihtude, as well as the sym-
pathies of feshionable audiences, by ridiculing a some-
what antiquated and old-world fashion. '^ (b) The dis-
crepancies here really help to substantiate Nicholson's
> Caatdain also (p. SSi) admits ignorance concerning both these
allnsions, though he seems to regard them as genuine.
* Castelain (p. 883) regards this argument as of great value.
* Fleay [Eng. Drama 3. 358) argues for an Elizabethan date, re-
marking: 'for "the queen" and "her majesty" would have been
altered in so careful a recasting had it been made in the time of
James.' He alludes also to a producbon of Every Man In, during the
reign of Elizabeth, by the Chapel Children. I find no other record
of this performance, nor of Fleay's anthority for the statement. Aron-
stdn also (p. 37) argues for an Eliuibethan date.
n,g,i,7cd by Google
The Date Ixv
previous claim. The taking of Aleppo occurred in 1516,
the engagement against Naples in 1528, and the rehef
of Vienna in 1529. The affair at the Adriatic Gulf prob-
ably jeferred to the battle of Lepanto, fought in 1571,
eince this paid an indirect tribute to James, who had
■written a sonnet on that victory. These are imf)ossible
dates, and must be interpreted as the impromptu ficti<ms
oi Brainworm.
Nicholson concludes with the suggestion that Every
Man In may have been revised, at the invitation of
James, for a comedy in celebration of a visit at court
of the King of Denmark, father of James' queen. Drum-
mond, speaking of his stay, says : 'There is nothing to
be heard at Court, but sounding of trumpets, hautboys,
music, revelling and Comedies.' Jonson was known and
in favour with the court at this time, and would almost
certainly have been asked to contribute. Jonson's
method of composition was slow, and he could have
more easily revived his former popular play than created
a new one.^
Gifford's opinions are highly colored by his desire to
uphold certain ideas. The prologue to the 1616 version
must be dated early in order to vanquish the theories
of those who see in it criticisms upon Shakespeare.
The whole play is placed, then, in 1598, and Q relegat-
ed to a surreptitious production, on a date for which
there is no evidence. Gifford has done valuable work in
refuting the charges of Jonson's malice toward Shake-
speare, but the idea has obsessed him, and he makes
deductions from it more sweeping than the facts allow.
' Gntbau (pp. 82—3) commends Nicholson's article highly, aad
npTcaaes bis agreement with its main contentions.
* This whole Jonson -Shakespeare controversy may be found snm-
maiized in the CuimiQgham-GiSord Jonson, i. cxciiifl.
n,g,i,7cd by Google
Ixvi Iniroduction
Nicholson has answered Gifford ably, and rendered
valuable service in stating the problem fully, in the
many aspects which it presents. His own arguments, as
he himself realizes, are not impeccable in 6very detail.
Too much importance can not be assigned to the state-
ment concerning the future popularity of the play (5. 5.
93). The plea for applause is a well-estabUshed custom
in Roman comedy, and Jonson, even in his youth, seems
to have been self-assured, and capable of such a state-
ment. The change from Q may have been made simply
to avoid the Latin quotation, and to give a more ap-
propriate close to the play. The reference to the present
to the Grand Signior need not inevitably be assigned
to the 1605—6 date, since records of famous gifts to the
S\]ltan at earher dates are extant (see note on i. 2. 83).
The explanations of the allusions to the Queen and the
production at the court of James are interesting con-
jectures. The soundest parts of his arguments are his
refutation of Gifiord's 1603 date and identification of
Every Man In with The Comodey of Utners, and his
reasons for believing that the production of 1598 was
the quarto version. The entire absence* of references
in history to Ghibelletto, and a battle of. Tortosa at the
time mentioned, suggests the possibiUty that these were
fanciful engagements, created by Jonson for his purpose,
though I find no other mention of this view. It is
natural that this internal evidence in Q should be taken
seriously ; it has all the outward signs of authenticity,
and is matched in F with the allusion to the siege of
Strigonium, which can be dated, and the absence of a
name for the place taken by the Genoese. It is quite
* fJicbolson scot out a request for information od the battles of
(IhibellettQ and Tortosa, N.andg. 5. 10. 18S, which brought forth a note
upon a capture of Tortosa by the Genoese in 1148; this, however,
throws BO light on the present proUem.
n,g,i,7cd by Google
The Date Izvii
possible, though, that Jonson was not faithful to hist(H-y
in the first instance, while he was still writing a httle
under the influence of the 'romantic school.' It has
been demonstrated earher (pp. hit!.) that there was a
material alteration in the oaths of F, which suggests
that they were changed by the prohibition of James in
1605—6. Nicholson's cumulative evidence is useful on
this point, though it can not all be corroborated.
The vexed questions concerning the date of this play
are not easy to answer, perhaps can not be answered.
The Comodey of Umers has come down to us as a name
cmly, and we shall probably never know with certainty
vbaX play this was. There is insufficient evidence, how-
ever, to identify it with Every Man in His Humor, in
the face of Jonson's own statement that the latter was
first acted in 159S. It is highly probable that tbe
version produced in 1598 was that of Q ; it would be
difficult otherwise to account for the latter's subsequent
publication in 1601. There is no compelling reason for
assuming that the 1601 play was not given to the press
by Jonson. A close study of the two versions shows
their essential kinship, and the development of one man's
idea. The internal evidence in F does not date the play
closely except in the case of the battle of Strigonium
(see notes onlohn Trvndle, late warres of Bohemia, Hungary,
etc.). There would have been no good reason to misdate
this wellknown historical event, and Jonson of course
knew when it occurred. The prologue to F appeared first
in 1616, and there is no way to prove that it was written
earher, though it probably was joined to the play at
the time of its revision.^ One must free the mind from
preconceived ideas here, and be willing to admit that
Shakespeare was alluded to, among others, in Jonson's
' Castelain (p. 883) believeaanongiaal prologue for QhaabeeD lost.
n,g,i,7c.dbyG00'^lc
Izviii ItOroduetioH
criticism. It is difficult at first to see why Jonson
should have altered references to the ' duke ' in Q to the
' queen ' in F, unless the play belonged to the Elizabethan
period. He was a slow workman, and this revision may
have been made at intervals during a space of time in-
cluding portions of the reigns of both Elizabeth and
James. Again, it may have been a dramatic device to
place the events of the play in the ' Queen's time,' and
there would then appear the double-time scheme which
Shakespeare employs so often. Probabihty, at any rate,
favors the 1605-6 date.
The residuum of established fact, then, is small. Q was
published in i6oi, and probably was written as early as
1598. F was pubhshed in 1616, and was probably
written between 1601 and 1616, many considerations
favoring a 1605—6 date.
C. Stage-History
The folio of 1616 announced on its title-page that
Every Man in His Humor was acted in the yeai 1598,
'by the then Lord Ghamberlaine his Seruants.' This is
the first definite, authentic reference to a public per-
formance of this play. The quarto of 1601 printed the
play as it had been 'sundry times pubUckly acted by
the right Honorable the Lord Ghamberlaine his seruants,'
which indicates the immediate popularity with «Uch it
was received. It is probable that the Chamberlain's
men were playing at the Curtain in 1598, during the
interval between their occupancy of the Theater and the
Globe,' The list of actors who were engaged in this
production is appended to the first folio. There is
' Camb. Hist, of Engl. Lit. 6. 279 ; Fleay, Hist, of tht Slagt, pp. 134.
145, 148; Mnrray, English Dramalie Companies, p. 97.
n,g,i,7cd by Google
Stag«-Hisiory Ixix
nothing to substantiate the famiiiar tradition that it was
throogh the approbation and intercession of Shakespeare
that this comedy was accepted by the Chamberlain's
company.* There is no way so determine which rdles
the varioxis actors assumed. Collier drew up a tentative
list which is of interest.*
Kno'well Will. Sbakesp«ue
Kiltly Ric. Borbadge
Brayne-worm Aug. Philips
Downt-righl Joh. Hemings
Cap. BobadiU Hen. Condell
Just. CUmenI Tio. Pope
Mr. Slephen Will. Kempe
Mr. Maaktw WiU, Slye
Dttmt KUay Chr. Beetton
Tib Joh, Duke
Every Man in His Humor was one of the old plays
revived at the time of the Restoration. The first record
fA its production at this time is found in Downes' Roscius
Anglicanus (1708). We leam here that the play was
produced sometime between 1663 and 1682 by 'his Ma
jesty's Company of Comedians in Drury Lane.'* The
play, thus produced, was provided with an epilogue' by
the £arl of Dorset, the tone of which may be indicated
by the first few lines :
lotreaty shall not serve, nor violence.
To moke me speak, in siuch a play's defence.
A plav, where wit and humour do agree
To break all practis'd laws of comedy.
' Daviea, Dram. Mite. a. 57,
* Collier, Mtmoirs of Actors, p. 133 : ' Having 30 long made the
rab}ect our study, and having obtained some little insight into the
peculiar qualifications of the representatives of the personages in Evtry
Man in Hit Humour, we may, perhaps, be allowed to subjoin our
nolicma {which of course are merely conjectural) upon the point.'
■ Downes. Roscius Anglicanus {ed. Knight), pp. 3, 8, 16.
* Davies, Dram. Mite. 3. 60.
n,g,i,7cd by Google
Izz Introduction
The scene, what more absurd t in England lies :
No gods descend ; no dancing devils rise :
No captive prince from unkoown country brought ;
No battle; nay, there's scarce a duel fought.
And something yet more sharply might be said.
But I consider the poor author's dead.'
It was again revived, 'with alterations,' at Lincoln's
Inn Fields, on January ii, 1725, with Hippisley as Kilely,
Hallas as Bobadil, Spiller as Brainworm, W. Bullock as
1 Daviea {Dram. Mise. 2. 59} says of Every Man In: 'It was acted.
as I conjecture, about the year 1675, by the Duke of York's company,
in Dorset Gardens. Nor having met with a printed copy of the play,
as then acted, I cannot easily divine how the parts were divided. In
all probability, Betterton, Smith, Harris, Nokes, Underbill, and some
others of the prime comedians were employed in it.' Daviee had
earlier regarded Downes' record as authentic (see pp. 62, 63), but later
came to feel that the reference to Matthew Medbouroe in the Epilogue
would render this highly improbable, since Medboume was connected
with the Duke's company. The lines referred to are :
Here's Master Matthew, our domestic wit.
Does promise one o' th' ten plays he has writ.
He accordingly decides that either Downes was in error, or that the
play was produced at both houses, contrary to the ruling of the court.
The epilogue states that the play was taken not by ' choice, but meere
necessity.'
To alt our writing friends in town we sent
But not a wit durst venture out in Lent :
Have patience but till Easter Term, and then
You shall have joy and hobby-horse again.
Genest {English Stage i. 343) calls Davies' argument 'plausible, but
not conclusive.' He feels it by no means certain that Medboume was
meant by Master Matthew, and still less certain that he had ten manu-
script plays by him, since Medboume was only known as an author
for the translation of one play (see DNB.). It is possible, however,
that he did write an original play, Si. Ceceiie, or the Converted Twim,
besides his version of Molitoe's TartuUe (see DNB.). It is conceivable
even that the reference may be to Medboume {DNB. so regards it),
and Downes' statement Still remain unimpugned. Wheatley, without
citing his authority, repeats Davies' statement.
n,g,i,7cd by Google
Stage-History Izxi
Stephen, Quin and Ryan as Knowell, sen. eind jtin.,
Walker as Wellbred. Bullock as Clement, EgletMi as Mar-
wii, Hnlett as Downrighi, Mrs. Bullock as Mrs. Kitely,
Mrs. Mofiet as Clara, and Mrs. Butcher as Lucinda.^ On
Nov. 29, 1751, at Drury Lane, occurred Garrick's notable
production of this play (see the account of Garrick's version,
pp. jcvii ft.) . The cast of the characters included Garrick
as Kitely, Woodward as Bobadill, Yates as Brainworm,
Shuter as Master Stephen, Taswell as Justice Clement,
Berry as Old Krtowell, Ross as Young Knowell, Palmer as
Wellbred, Mozeen as Cob, Vaughan as Master Matthew,
Winstone as Downright, Blakes as Cash, Costollo as
Formal, Mrs. Ward as Dame Kitdy, Miss Minors as
Bridget, Mrs. Cross as Tib.^
The accounts of this performance are in the highest
degree enthusiastic. ' Never was play so perfectly " cast "
or so dihgently rehearsed. Garrick was suited to a nicety
in Kitdy, whose fitful changes and passicms gave him good
scope for play of feature and inflections of voice. Wood-
ward could not have had a finer part than Bobadil, nor
Bobadil a finer actor ; but it eminently fitted his soUd and
classical humour, a humour now lost to the stage. In-
deed it was long thought to have been his masterpiece.
Yates as Brainworm, Ross and Palmer as Wellbred and
Young Knoweil, were all good selections, and the manner
was fortunate enough to find actors otherwise obscure,
who made for themselves reputations, in even the minor
> Adams, JHct. of the Drama : Genest, English Stage 3. 166. See also
Oavics, Dram. Misc. 2. 64 ; 'I wels iDformed, many years since, that
Every Matt in His Humour was revived at the theatre in Lincoln's-
■nn-fleMB about the year 1720 ; Jiow the parta were distributed I could
not leani.' Adama' statement, verified iu part by Genest, with its more
c«Ttain tone, and more specific infoimatioti, gives it a better face- value
than Davies' va^e comment.
' Genest, English Stage 4. 34"— 3-
f
n,g,i,7cd by Google
IxxU ItOroditeMon
parts of this great play. . . . How the great actor looked
as Kitely and how he "dressed" the part, we can know
from the fine picture by Reynolds, and from the mezzo-
tint worthy, of the picture — -where we see him in his
full Spanish cloak and white collar of many points and
slashed sleeves ; where his expression is surprisingly altered
by a short, dark wig, divided down the middle, and " fuzzed
out " at the sides. The play was acted with complete suc-
cess-though it was said that the audience took some time
before they could siirmount the old-fashioned tone.''
Garrick's letters contain ioteresting allusions to this play :
'Mrs. Montagu to Mr. Gaiiick
Hill Street, May si"- 1770,
' Mrs. Montagu presents her best comphments to Mr. and
Mrs. Garrick, and has taken the hberty to send them a
book, no otherwise worthy of their acceptance than as it
is written by one who is proud of being known as their
adnurer and their friend. Mrs. Montagu is a httle jealous
for poor Shakes[>eare ; for if Mr. Gsirrick often acts Kitely
B. Jonson will eclipse his name. Ail the labours of the
critics can do nothing by the dead letter of criticism
against the hving force of Mr. G's representation. King
Lear in his madness, or Macbeth led by air-drawn daggers,
cannot kill what Mr. Geirrick has rendered immortal.
Kitely will never sink into oblivion. Fie upon Mr.
Garrick I he alone could raise a rival to Shakespeare.'*
'Mr, Wilkes to Mr. Garrick
Le Samedi, 9. Novembre 1767.
'J'ai coram k Paris I'aimable, le charmant Garrick.
i'ai vu i Londres le grand, le sublime. Je remerde Mr.
> Fitzgerald, Life of David Garrick (ed. tSg^), pp. 144. 145.
* PrivaU CorrtspoHcUnca 0/ David Garrick 1. 385.
n,g,i,7cd by Google
Stage-History Ixziii
Kitely de me I'avoir fait connaltre. Si my lord Maire
ne s'emparoit pas de nous pour toute la joumfe, si nous
n'allions pas diner et danser k Guildhall, j 'aurai vol6 dans
les bras de Mr. Kitely, et je lui aurois demand^ des nou-
velles de sa nuit, et comment il se trouve de son rac-
commodement avec sa femme. Je n'oublierai jamais
cette joum^ qui m'a appris que I'art le plus profond, la
m^taphysique la plus subtile pent s'allier avec le naturel
le plus sublime.'*
' In distributing parts, he [Garrick] consulted the genius
of the actor ; and though he was not without those pre-
judices from which no man can entirely be divested, yet,
in general, the characters were well suited to those who
represented them. In confirmation of this, I need only
mention one of the plays he revived ; the Every Man in
His Humour of Ben Jonson, where all the personages were
so exactly fitted to the look, voice, figure, and talents
of the actor, that no play which comprehends so many
distinct peculiarities of hiunour, was ever perhaps so
completely acted ; and to this care of the manager in
restoring this obsolete play to the stage may very justly
be attributed its great success ; for this comedy had often
been brought on the stage before, particularly in the time
of Charles the Second, under the patronage of the witty
Earl of DorFst, and other noblemen of taste, but it had
never till this time greatly pleased the people.'*
A series of revivals follow, no one of which eqiials
Gairick's, in interest or importance, until that of Dickens
in 1845. They may, accordingly, be Usted in topical
' FrivaU Corrnpondettct of Daoid Garrieh i. 373. The extracts
Irom the lettera are quoted in Maass' dissertation.
* Davies, Mtmoirs of Garrieh t. 90.
n,g,i,7cd by Google
Droiy Lane*
Dec. 19, 1751
ItaroduaioH
Kitity — Garrick
Drtuy L«ne*
Harcb 10, 1753
Drnry Lane*
March 19, 175
iMtuUr SUpken = Veraon
Downright = Bransby
Oct. 30 and Nov. 3, 1754
Dmrr Laae*
D©c. 6, 175 s
Drnry Lane'
April 5. 1756
Dniry Lane'
Dec. 10, 1756
Dmiy Lane*
Harcb 31, 17S7
Drury Lane"
Oct. 14, 1760
Drury Lane"
April I, 1761
Drury Lane"
April IS, 1 76 1
Drury Lane**
Oct 4, 176a
Kilely = Garrick
Kilely *= Garrick
) Kitaly =3 Garrick
( MaOti SUpht* = Stakes
1- Kittly = Garrick
I BabadiU = Yates
I Master Stephen = Obrien
Young KnowtU i— Holland
I JTitB/y— Garrick
t Bobadill t= Yates
t Brainirorm = Slaked
Kitety — Garrick
> Geneot, English Slagi 4. 344.
« Ibid. 4. 347. » Ibid. 4. 387. * Ibid. 4. 403.
* Ibid. 4. 445. • Ibid. 4. 457, ' Ibid. 4. 478.
• Ibid. 4. 482. • Ibid. 4. 578. "> Ibid. 4. 603.
" Ibid. 4. 610, 611. " Ibid. 4. 6i3, " Ibid. 3. 5,
n,g,i,7cd by Google
Si4^e-History
Covent Garden'
Oct 35, aft. 38, 1762
Acted about 15 times.
Covent Garden*
Not. 4, 1761
Covent Garden*
Jan. «. 1763
Covent Garden*
Oct. 10, 1763
Covent Garden'
Hardt 36, 1764
Covent Garden*
March 13, 1765
Covent Garden'
April 13. 1765
Covent Garden*
Uarch 18, 176&
Covent Garden *
Oct 33, 1766
Covent Garden'"
Sept 17. 1767
Drury Lane"
Oct. 9, 1767
KiUly = Smith
Bobadili = Woodward
MaHer St»phm = Shnter
Old KnoaeU = Sparks
Young Knoweil = Dyer
WeObrtd = Mattocks
Doamriglit = Walker
Dama Kitely = Mrs. Ward
Bridget = Miss Miller
Cob'i Wife = Mrs. Pitt
IBrdtwworm t= Dunstall
Jtutiet Cltm«nl = lta.tten
\ Justie* CUm*nt = Lewis
I Damt KiUly ■= Miss Wilford
I Dame KiUly = Mrs. Bulkley (late
I Miss Wilford)
KUdy = Garrick
BtAadiU = King
Mmtef Slfpften = Dodd
Brainworm = Baddeley
C<A = Moody
WtObnd = Palmer
Damt KiUly = Mrs. Baddeley
* Genest, Eiiglisk Slag* 5. 37
* Ibid. J. 38. » Ibid. 5. 30.
* Ibid. 5. 37. ' '*". 5. 74-
* Ibid, 5. 139.
tbid. ^ 75.
Ibid. 5. 184.
• /MJ. 3. 33.
* JMrf. J. 109.
i» /6«rf. 3. 157-
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Covent Garden*
Sept ai, 1768
Covent Gatden*
Sept 37, 1769
Drury Lone*
Nov, a9, 1769
Drury Laae*
May a4. 1770
pmty Lane*
Nov, 16, 1770
Dmry Lane'
Nov. 8, 1 771
Covent Garden'
Nov. 7, 1771
Covent Garden*
Dec. 18, 1771
Covent Garden*
Oct. 14. 1771
Drury l.Ane>*
Oct, 39. 1773
Bath"
Nov. 31, 177a
WeUbrtd o Lewes
KiUiy = Garrick
Young Knowall ^ Aikin
Wtilbred=pa.\met
1^ Mastrr Suphtn = W. Palmer
BraintBorm ^ Baddeley
Dame Kitely = Mrs. Baddeley
I KiUty (with an occasional pro-
! logue) = Garrick
! Brainworm ^ Moody
[ Dame Kittty =t Mias Younge
Kitily mt Garrick
I KiUly =. Garrick
f MaHer SUphtu n Weaton
Woodward = BobadlU
j Kilsly =s Garrick
I Dam* Kitely e: Hiss Younge
iBobaditl ^ Courtney
Matter Stephen = Edwin
' Geneat, EngKth Stage 5. 337.
' Ibid. 5. 877. • Ibid. 5- 260. * Ibid, %. 2ja.
' Ibid, J. 393. • Ibid. 5. 313. ' Ibid, y 338.
' JWA5.331. • Ibid. 5.360. >* /Wd.3.341. " Ibid. 5, 380.
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Stage-History
Dec IS, 17, 1771
Drnry Lane *
Oct ». 1773
Covent Garden"
Nov. 23, 1773
Dmry Lane *
Oct. ao, 1774
KiUly = Ganick
Young Knomll— J. Aikin
WaUbrtd-^ Jeilenoa
Cash ma Brereton
Kilety = Gaitick
Bobndill = King
Brainworm ^ Badddey
Master Sl»phtn = Weston
Damt Kitely =^ Miss Younge
Drniy Lane*
Oct. 3, 1775
I Kilely >= Garrick
t Master SuphtM = Weston
I>rary Lane*
Dec. 18, 1775
Kiltly = Garrick
Master Sltphtn = Dodd
J»sHf4 Clemtnt ■= Parsons
Danu KUely = Mrs. GrcviUe
Dmry Lane'
Feb, 9, 1776
Dmry Lane*
April 3 J, 1776
Livetpool Bills*
Ang, 26, 1776
KiMy = Garrick
KiUly ss Garrick
KiUly = Lewis
BobaditI = Lee Lewes
Masltr SUphtn = Wilson
Brainwitrm ^ Moody
Dams KiMy == BIrs. Hartley
' Gcnest, English Stage 5. 3S1.--
' Ihid. J. 394. ' Ibid. 3. 417. • Ibid. 4. 441.
' Ibid. 5. 479. • Ibid. S. 483. ■> Ibid. 5. 489-
' Ihid. 5. 493. » Ibid. 5. 537.
n,g,i,7cd by Google
Dniry Lane'
Jan. 3. 1778
Kiuly = Smith
BobadiU = Henderaon
BraimBOTm = Baddeley
MasUr SUpken = Dodd
Justice CUmenI = PanoDs
Old Knovea^ J. Aikia
Young KnowtU = Breretoo
B'BUftwrf = Fanen
Downright = Hurst
Cob ^ Bloody
Master Matthew ^ Bnrtoa
Cask = R. Palmer
Mrs. Kitety^Uta. Baddeley
Sridgtt = Hiss P. Hopkiu
Tib =s Mrs. Bradshaw
Covent Garden*
Oct I, 1779
Liverpool Billa*
Ang. 7, 1780
Dmry Lane*
Hay 23, 17S1
Kittly = Keasberry
Bobadill = Henderson
Masltr Stephen = Edwin
Brainworm =, Didier
Old KnoweU = BUs3«t
Yaung Knomell ae HimonA
Damt Kitely = Hrs. Didier
Kitety = Wroughton
BobadiU ^ Lee Lewes
Braintuorm = Wilson
Master Stephen ^ Edwin
Old KnoweU = Htilt
Dotonrigkl =^ Clarke
Dame Kitely = Kfrs. Bulkl«y
I BobadiU = HeaderBon
Master Stephen = Quick
1 Genest. English Slag* 6. 5 and Adams, Diet. Drama, p/4;
* Genest, English Stage 6. 38. » Ibid, 6, 139.
• IbiO. 6. 170. • Ibid. 6. 185.
n,g,i,7cd by Google
Sb^History
Drury Lane'
Dec, 30, 1785
Kilely = Smith
Bobadill =1 Palmer
Brainworm ^ Baddeley
Master Sttpken — Woldron
Old Knowell s= J. Aikio
Young Knowell ^ BaiT7]nore
Wtllbred = Bannister Jan.
Justice Clement =3 ParBOns
Downright ^ Wrighten
MasUr Matthew •= Suett
Dam* Kitely =s Mia. Brereton
Dniry Lane>
Hay 33, 1788
KiUly = Smith
Bobadill = Palmer
Brainworm ^ Baddeley
Master Stephen = Dodd
Dame Kitely := Mis. Kemble
Covent Garden *
May 15, 1798
Kilely ^ Holman
Bobadill = Cubitt
BTainwomi ^ Towuaend
Master Stephen = Knight
Old Knowell ^ Murray
Young Knowell ^ CUike
Wellbred = Wbitadd
Master Matthew := Simmons
Downright =^ Waddy
C(W* = Farley
Justice Clement ^ Munden
Dame Kitely = t^as Bettertoo
Bridget = Miss Mansel
Tib = Miss 'Gilbert
Covent Garden *
Mayas, '798
Bobadill = Fawcett
' Genest, Englith Stage 6. 379, 380.
' Jbid. 6. 481.
» Ibid. 7. 367, 368.
* Ibid, 7. 369.
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Covent Gaidea'
Dec. 17, 1800
Covent Garden*
Feb. s8, 1801
Covent Garden*
Nov. II, iSoi
KiUty (with the prologue spoken
by Garrick in i75i> = Cooke
Bobadill = Fawcett
Brain-worm =^ Munden
Master Stephen = Knight
Old Knowell ^: Murray
Young Knowell ^ Branton
Wetlbrtd = H. Johnston
Master Maltheui = Simmons
Justice Clement '^ Emery
Downright = Waddy
Dante Kitely = Miss Chapman
Dniry L«ne*
Dec. 10, 1802
Acted twice. As this play was
strongly cast at C. G., it could
answer no good purpose to revive
it at D, L, with inferior per-
formers.
Covent Garden *
Sept. ai, 1803
Covent Garden'
Oct. 13, tS04
Covent Garden'
Jan. 8, 1S07
Kitely = Wroughton
Bobadill = Bannister Jun.
Brainworm = R. Palmer
Master Stephen = Cherry
Justice Clement =^ Suett
Old Knowell = Powell
Young Knowell = Dwycr
Master MaUheia = Collins
Dame KiUly = Mrs. Powell
' Geneat, English Stage 7. $12.
' Ibid. 7. 514. » Ibid. 7. 550.
' Ibid. 7. 568. • Ibid. 7. 611.
• Ibid. S. 48.
* Ibi4. 7. 576-
' Ibid. 7. 65B.
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Stage-History
btXKI
Coven t Garden'
April s 1808
Covent Garden *
Nov. 8, 1B08
Bath'
Feb. 10, 1816
IKilely = Cooke
Bobadill s Fawcett
BraiHworm ^ Haoden
Mtuttr Stephen = Uston
Justice Clement = Emery
Dame KiUly=s Urs. H. Johiutoa
iKiiely = Cooke
Bobadill « Bengough
Brainworm = Lovegrove
Mailer Stephen = HaUinson
Kitely = W. Macready
Bobadill — Bengough
Brainworm — Chatterley
Master Stephen = Woulds
Young Ktiowell = Warde
WelOreil = Stanley
Dame Kitely = Mrs. W. West
Drury Lane'
June 5, 1816
Acted twice.
Kitely = Kean
Bobadill = Harley
Brainworm = Monden
Master Stephen = Oxberry
Old Knowell = PoweU
Young Knowell = S. Penley
Weltbred = Wallack
justiee Clement = Penley
Downright = R. Palmer
Master Matthew = Hughes
Cob = Gattie
Dame Kitely = Mrs. Horn
Bridget = Miss Boyce
, ri6 = Mrs. Harlowe
Gencst, English Stage i
I Ibid. 8. taj.
' Ibid. 8, 563.
' Ibid. S. iSS-
* Ibid. 8, 536, 537.
n,g,i,7cd by Google
( Kittty = Young
BobadiU = Fawcett
Btainworm = W. Farren
Master Suphtn = Meadows
Mailer Matthew ^= Keeley
Caveat Gajden* Old Knofeell = ChapmAa
May 13, 1815 Young Knowell = Cooper
Acted twice. WtUbred = Masoa
Justice Clttnenl ^= Blanchard
Cob = J. Isaacs'
Downright = Egerton
Dam» Kitely = Mra. Chatterley
Cob's Wife = Mrs. Pearce
In 1845, a private perfonnance of Every Man In His
Humor was given in Miss Kelly's Theatre, Soho, under the
direction of Charles Dickens.' Something of thesame in-
terest attaches itself to this perfonnance as to Garrick'spre-
vious well known one. Forster* writes entertainingly ofthe
producticai. ' We had chosen Every Man in His Humour.
with especial regard to the singleness and individuahty
of the "humours" portrayed in it; and our company
included the leaders of a journal then in its earhest years,
but already not more renowned as the most successful
joker of jokes yet known in England, than famous for
that exclusive use of its laughter and satire for objects
the highest or most harmless, which makes it still so en-
joyable a companion to mirth-loving, right-minded men.
Madise took earnest part with us, and was to have acted,
but fell away on the eve of the rehearsals; and Stanfield,
who went so far as to rehearse Downright twice, then
took fright and also ran away : but Jerrold, who played
Master Stephen, brou^it with him Lemon, who took
Brainworm ; Leech, to whom Master Matthew was given ;
' Genest, English Stage 9. 307.
' Adams, Diet. Drama, p. 473.
* PoTSter, Lift of Dickens (ed. 1874) a. 209 ff.
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Stage-History Uxxiii
A'Beckett, who had condescended to the small part of
It^Uiam ; and Mr. Leigh, who had Ohver Cob. I played
Kitely, and Bobadil fell to Dickens, who took upon him
the redoubtable Captain long before he stood in his dress
at the foothghts ; humouring the completeness of his
assumption by talking and writing Bobadil till the dullest
of our party were touched and stirred to something of
his own heartiness of enjoyment. One or two hints of
these have been given, and I wiU only add to them his
refusal of my wish that he should go iind see some S[>ecial
performance of the Gamester. "Man of the House. Gam-
ester ! By the foot of Pharaoh, I will not see the Gamester.
Han shall not force, nor horses drag, this poor gentleman-
like carcass into the presence of the Gamester. 1 have
said it. . . . The player Mac hath bidden me to eat and
Hkewise diink with him, thyself, and short-necked Fox
to-night — An' I go not, I am a h<^, and not a soldier.
But an' thou goest not — Beware citizen ! Look to it, . . .
Thine as thou meritest. Bobadil (Captain) . Unto Master
Kitely. These."
'The play was played on the 21st. of September with
a success that out-ran the wildest expectation ; and
ttuned our little enterprise into one of the small sen-
sations of the day. The applause of the theatre found
so loud an echo in the press, that for the time nothing
else was talked about in private circles ; and after a week
or two we had to yield (we did not find it difficult) to a
pressure of demand for more pubhc performance in a
larger theatre, by which a useful charity received im-
portant help, and its committee showed their gratitude
by an entertainment to us at the Clarendon, a month or
two later, when Lord Lansdowne took the chair. . . .
' Of the thing itself, however, it is necessary to be said
that a modicum of merit goes a long way in all such
matters, and it would not be safe now to assume that
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Ixxxiv Introduction
ours was much above the average of amateur attempts
in general. Lemon certainly had most of the stuff, con>
ventional as well as otherwise, of a regular actor in him,
but this was not of a high kind ; and though Dickens had
the title to be called a bora comedian, the turn for it being
in his very nature, his strength was rather in the vividness
and variety of his assumptions, than in the completeness,
finish, or ideality he could give to any part of them. It
is expressed exactly by what he says of his youthful pre-
ference for the representation of the elder Mathews. At
the same time this was in itself so thoroughly genuine
and enjoyable, and had in it such quickness find keenness
of insight, that of its kind it was unrivalled ; and it enabled
him to present in Bobadil, after a richly coloured
picture of bombastical extravagance and comic exal-
tation in the earlier scenes, a contrast in the later of
tragical humility and abasement, that had a wonderful
effect. But greatly as his acting contributed to the
success of the night, this was nothing to the service he had
rendered as manager. It would be difficult to describe
it. He was the hfe and soul of the entire affair. . . . Such
a chaos of dirt, confusion, and noise, as the little theatre
was the day we entered it, and such a cosmos as he made
it of cleanliness, order, and silence, before the rehearsals
were over I '
Wheatley notes (p. 117) that in 1847 the company went
'strolling' in the provinces, and performed this play at
Manchester and Liverpool. At the latter place, it was
given for the benefit of Leigh Hunt, and Lord Lytton
wrote a prologue for it, an extract from which follows :
Hark the frank masic of the elder age-
Ben Jonson's giant tread sounds linging up the stage I
Hailt the large shapes our fathers lovedl again
Well-bred's Ught ease, and Kitely's jealous pain.
Cob shall have sense, and Stephen be polite.
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Influmee of Hit Classics Ixzxv
Brain-woim shall preach, and Bobadill ah&U light.
Each, here, a meiit not his own shall find,
And Every Man the Humour to be kind.
Accounts of productions of the play cease after thiB
time. Note should, however, be made of a revival by
the English Club of Stanford University, 1905 (see £«-
land Stanford in Bibliography).
D. Influence of. the Classics
JoDson's erudition is a matter of common knowledge,
and few, in commenting upon the Elizabethan age, fail
to draw a contrast between him, replete with classical
learning, and Shakespeare's 'little Latin and less Greek.'
This fact and this contrast are recognized by other poets :
What are bis faults (O eavy 1) that yon speake
English at Court, the Icaiued Stage acts Greek i
That Latin he reduc'd, and could command
That which yonr Shakesptan scarce could understand.
— Ramsay, TJpon iMt Dtalk of Benjamin Jonson.
(Jonson, Whi. 9. 476.}
Next these, leam'd Jonson in this list I bring.
Who had drunk deep of the Pierian Spring,
Whose knowledge did htm worthily prefer.
And long was lord here of the theater :
Who in opinion made our leam'd to stick
Whether in poema righUy dramatic,
Strong Seneca or Plautns, he or they,
Sboald bear the buskin and the sock away.
—Drayton, Of Poels and Pottie.
Look up I where Seneca and Sophocles,
Quick Plautns and sharp Aristophanes,
Enlighten yon bright orb I doth not your eye,
Among them, one far larger fire descry
At which their lights grow pale 7 This Jonson,
There he shines your star, who was your Pilot here.
—William Habington, Upon the Dealk of Ben Jonson.
(Jonson, Wki. 9. 443.)
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Ixxxvi Introduction
JJrummond of HawtfaomdeD wrote with enthusiasm :
'He was better versed, and knew more in Greek and Latin,
than ail the Poets in England.'^
Critics emphasize the same fact, usually with praise of
Jonson for originality, and a skillful blending of classical
and contemporjiry EngUsh sentiments, with a ready ad-
justment of the old to fit the new condition. 'What he
borroweth from the antients, he generally improves by
the use and application, and by this means, he improved
himself, in contending to think, and to express his
thoughts like them ; and accordingly those plays are
best, in which we find most imitations or translations
from classic authors ; but be commonly borrows with the
air of a conqueror, and adorns himself in their dress, as
with the spoils and tro|^es of victory.'' His learning
was ' for his age extremely varied, and judged by an even
higher standard than that of his age, thoroughly solid.
He was worthy of bei:^ the pupil of Camden and the
friend of Selden. His studies, while by no means con-
fined to the Greek and Roman classics ordinarily read
in his days, commanded this famihar range with \musual
completeness. ... Of his classical learning his tragedies
furnish the most direct evidence ; but there is hardly
one of his comedies or even of his masques, which is not
full of illustrations of the reading prized in "both Uni-
versities". ... He read and reproduced what he read in
scholarly fashion ; in other words he studied critically,
and assimilated what he acquired. Of his own art in
particular he had mastered the theory as well as the
practice. Vetus Comoedia was to him no mere tradition,
taken at second-hand from native schoolmasters or Italian
practitioners, but a Uterary growth of which he had care-
• ConvtTiiUions with Dmmitumd {Jonson, Wks. 9, 411).
» Whalley (Jonton's Wks. i. v).
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Influence of the Classics Ixxxvii
fully studied the laws.'^ ' In the meantime, I must desire
you to take notice, that the greatest man of the last age
(Ben Jonson) was willing to give place to them in all
things : he was not only a professed imitator of Horace,
but a learned plagiary of all the others ; you track him
everywhere in their snow. If Horace, Lucan, Petroniu';
Arbiter, Seneca, and Juvenal had their own from him
there are few serious thoughts which are new in him :
you win pardon me, therefore, if I presume he loved
their fashion, when he wore their clothes.'*
Castelain finds Jonson more English than a close fol-
lower of the Greeks and Latins : '11 est Evident tout
d'abord que Jonson est un classique .... Mais ce qui
caract^rise avant tout I'esprit classique, c'est I'amour de
I'ordre et de I'harmonie En r^alit^ tout ce classicismc
est de pure surface. Jonson n'est qu'un classique d'appa-
rence, et son vigoureux jugement, son goflt de la v^rit^,
I'ont emp6ch6 d'aller jusqu'au bout des doctrines qu'i!
croyait professer ... La v^rit<5 est que Jonson ne sentait
pas la beauts de ces quality d'ordre et d'harmonie, qui
- plaisent tant k nos esprits latins et classiques .... Jonson ,
restant trds anglais malgr^ toute sa culture antique, n'a
pas pu comprendre I'aust^re beaut4 des regies classiques ;
il en a adopts une ou deux, et non pas les plus essentielles ;
il ne paralt pas m§me avoir compris les autres.'^
The voice of the minority is sufficiently illustrated by
the following : ' Jonson possessed all the learning which
was wanting to Shakespeare, and wanted all the genius
of which the other was possessed. Both of them were
equally deficient in taste and elegance, in harmony and
correctness. A servile copyist of the ancients, Jonson
translated into bad ^iglish the beautiful passages of the
' Ward, E»gl. Dram. Lit. 2. 397, 398.
* Dryden, Essay on Dram. Potty (Wks. ed. Scott- Saiotabury 15.
ioo). ■ Castelain, Jonson, pp. iSi. 183, 184, 186, 187.
n,g,i,7cd by Google
Ixxxviii ItUroducHon
Greek and Roman authors, without accommodating them
to the mamiers of his age and country. His merit has
been totally eclipsed by that of Shakespeare, whose rude
genius prevailed over the rude art of his contemporary.' '
With full recognition, then, of the general fact of Jon-
son's indebtedness to the classics in his production of
realistic English comedy, it remains to be shown, in the
case of each single play, the exact maimer in which this
dual process is operative, and to discover, if possible,
a still subtler and more pervasive manifestation of its
influence.
In Every Man in His Humor, as in Jonson's other
plays, the simplest and most obvious exemplification of
classical influence is in the matter of direct quotations.
In the combined two versions occur quotations from Ju-
venal,' Terence," Virgil,* Ovid,' and Seneca*. Qosely
allied to these are paraphrases and close imitations of
passages in the classics. Specimens of these are in evi-
dence from Juvenal,' Quintihan,' Martial,* Plautus,"
Terence,^* Horace." and Aristotle.^'
A borrowing more deeply ingrained in the present
play is that of characters and situations which have be-
come conventional in Roman comedy. The most im-
portant of these are : the motive of the father and way-
ward son ; the two-faced intriguing servant ; the braggart
soldier ; the gull or dupe ; mistaken identity ; the clan-
destine marriage ; the general atmosphere of trickery
and intrigue ; the sudden resolution of plot-comphcation
at the end of the play.
■ Hume, Hiil. of Engl. (ed. 1851) 4. 323.
■ Title pages Q and F. * Q 3 i- 5^-
* Q a- 3- >?; 5- "■ 640: F 3- '■ '9 *Q 5- I- 395
' Q 5- »• 433- ' F I. I. 89: *. a. 5; *. s. 51.
• F *. 5, 14. • F Prologue. '• F i. ». 134.
" F I. a. 131. " F I. 3. 47. '• F Prol. afl.
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Influence of the Classics Ixxxix
The &ther-son motive occurs cleai ly in eight of Plautus'
plays ^ and in five of Terence's.* Its particular form in
Every Man in His Humor is that of the fond and in-
dujgent father, himself moral, who fails to detect the
deception and dissipation of his son, who, meanwhile,
takes pleasure in deceiving his parent, and idling with
gay companions. The boy indulges in the excesses of
youth, but is not vicious or dissolute. The 'foUies, not
the crimes of men' are dealt with here, and the comic
atmosphere is even and unbroken. The typical father
of Roman comedy is of two sorts. The tj^M reflected
in Old Knowell may be illustrated by Charmides, in
Wautus' Trinummus.' This wealthy Athenian is thor-
oughly moral, long-suffering, and forgiving. After his
property has been much wasted by his son, he goes
abroad. During his absence, the boy, by reckless extra-
vagance, consumes the remainder of his father's resources,
and even sells his house. The latter returns in time, is
apprised of his son's perfidy, and, at the intercession of
a friend, after lamenting his wickedness, forgives him.
The father may also be vicious and immoral, abetting
his son in his knavery, or practising independent vices
of his own.* A suggestion of the mingling of the two
types in Old Knowell is seen in the ease with which he
stills his conscience when he reads his son's letter. There
are often two fathers in the plays of Plautus and Terence,
troubled by two obstreperous sons * Aside from the def-
inite father-son motive, there is a general lack of respect
' Trinummus, Batxkidas, Pseudolus, Asinaria, Mercator, MosUUaria,
Epidieii, TrueuUnius.
* Andtia, HeaulonHmoTumenos, Phormio, Hteyra, Adtlpht.
* Cf. also Mido in Adelfihi.
' Demipho, in Mereator, Simo, in Psetuloitu, Deroaenetus, in Aii-
naria, are good illustrations.
* Cf. BaeckitUi.
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xc Introduction
towards age, and a delight in seeing older men duped
by younger, which helped to create the atmosphere upon
which Jonson drew for his play.^ Young Knowell is a
kss serious offender than most of the j'oung men of the
New Comedy. There, many times, the whole gamut of
vices is run tbroi^b. When stripped of the personal
characteristics which render him a typical young English-
man, however, and relegated to a type, his general theory
and conduct of life place him with those others whose
escapades delighted tiie audiences of Rome. His friend-
ship with Wellbred is also conventional. The Roman
youth was almost certain to have a companion in his
frohcs.
The two-faced, intr^uing servant is an indispensable
factor in Roman comedy, and no play belonging to it
is without him. No obligation or relation is sacred to
him. A servant to a father and a son , he may be faithful
to one and untrue to the other, aid one to bring about
the other's discomfiture, or be tmtrue to both. If a plot-
complication is needed, he stands ready to assume a dis-
guise, conceive and execute a trick, fail to perform a duty
assigned him, and thus effect the proper entanglement.
If no convenient resolution of a ptlot is available, the
servant, again, may enter with the necessary information
and disclosures to make all clear. The manysidedness
of his nature must have created an unfailing atmosphere
of interest around him, and made the audience regard
him with ever-expectant eyes. The variety of his es-
capades, too, made him a perennial funmaker. In these
several capacities, Brainworm is equally as useful a char-
acter in Every Man in His Humor. Without him, the
slender plot of this play could hardly hold together. The
* The deception worked upon Hegio, in the Captivi, the cheating
Euclio of his treasure in Aulularia, and the duping the procurer in
the Perta, arc caaea in point.
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Influence of the Classics xci
fiist hint of action in the play comes with Brainworm's
ju^Iing with Wellbred's letter to Young Knowell {i.
1-2). He next appears disguised as a soldier, and im-
poses upon Stephen's simphcity by selling him a rapier
{2. 2). Shortly after this (2. 3), in the same di^iuise,
he deceives Old Knowell, who takes him into his service.
Filled with meniment over his own duplicity, he hastens
to the Windmill Tavern (3. i) to tell Ned Knowell and
his companions of his latest trick. To complete the
father's mystification, Brainworm tells him his son (4. 6)
has learned that he has followed him to town, and sends
him to Cob's house on a fruitless search for the culprit.
Brainworm follows, with a new plan on foot to gull
Formal. His services are much in demand, for he is
next (4. 8) engaged by Wellbred, disgiiised in Formal's
clothes, to tell Young Knowell to meet him and Bridget
at the Tower. On the way (4. g) Matthew and Bobadill
meet him, and engage him to arrest Downright for assault ;
this he accompUshes in another disguise (i. 11), at the
same time arresting Stephen forstealingDownright's cloak.
Finally, the speedy unraveling of the plot in the last
act is made possible only by Brainworm's disclosures of
his many tricks. Jonson has shown splendid originaUty
in working out the details of Brainworm's character for
the present purpose, but its essential elements, and his
basic function in the play, are strictly classical.
The boastful soldier has his most complete incarnation
m Pjfrgopolinices,^ the Miles Gloriosus of Plautus, al-
tboi^h he appears also, in less pronounced form, inThera-
pontigonns, in Cwculio, and Stratophanes, in Truculenius.
Ihe original Miles is a 'bragging, impudent, stinking
fdiow, brimful of lying and lasdviousness, [who] says that
' See Keiahardstoettner, Plaulus, p. 677. and Lumley, Infltunct
ol Plttuius on the Comedies ol Bin Jonson, pp. 57 ff.
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xcii Introducium
all the women are following him of their own accord.'*
He killed a hundred and fifty men in Cilicia, a hundred
in Cryphiolathrona, thirty at Sardis, sixty at Macedon,
and five hundred at Cappadocia altogether at one blow.'
Compare with this BobadiU's boast (4. 7. 85) : ' Say the
enemie were fortie thousand strorg, we twentie would
come into the field . . . wee would challenge twentie of
the enemie ; . . . well, we would kill them : . . . thus, would
wee kill, euery man, his twentie a day, that's twentie
score ; twentie score, that's two hundreth ; . . . two
hundreth dayes killes them aU vp, by computation.'
Bobadill is the only character which can be definitely
paralleled in classical comedy.
Almost as essential to classical comedy as the intriguing
servant is the gull or dupe. There must be somebody
to fool, and somebody to be fooled. A variety of people
may serve in the latter capacity. The father is duped by
his son ; " the wife by her husband ; • the procurer by the
youth who patronizes him ;^ or the parasite is himself
sometimes rebufied.* The degrees of gullibility range
from cases where the deception is accomplished only by
the inordinate cleverness of the intriguer to those where
the butt of the joke is mentally deficient. So, in Every
Man in His Humor, Old Knowell is deceived by his son,
and both the son and father are fooled by Brainworm
through the latter's unusual skill in subterfuge, while
Stephen is gulled on all sides because of his own stupidity.
Mistaken identity was a device thoroughly familiar to
the Latin poets, and made to subserve a number of uses.
> Plautus (tr. Riley} i. 74 ; cf. Miles Gtoriosus (ed. Leo) i. 3. 8;
' illest miles meus eras . . . gloiiosua, impudens, atercoreus, pleaus
periuii atque a^ulteii.' Cf. Remhardatoettner, Flaulas, pp. 595 — 680,
for a luU discusaion of the literary history of the ' braggart soldier.'
* Miles GloT. (ed. Leo) i. i. 42—4^, 52, 33; Kiley i. 73.
' Trinummus. * AHnaria. * Panulus. * Sticius.
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Influmce of the Classics xciii
I the previous category, the particular importance
i to this motive may vary in importance. A dis-
guise may be assumed temporarily and for a given pur-
pose,* or there may be a genuine mistaken identity, due
perhaps to an accident at birth which calls for a re-
cf^tion-scene and a clearing up of mystery.* All the
instances of this in Every Man in His Humor are of the
first sort, and caused by Brainworm's antics. This mo-
tive is quite as useful to Jonson as to the classical poets,
and he does not n^lect his opportunity.
To marry, or intrigue with, a woman secretly is a fa-
vorite way for a son to deceive his father.' Rather less
importance is assigned to this as a structural element in
Jonsun than would have been the case in either Plautus
or Terence. Here it is one among many incidents, and
not so much more important than they.
One's general memory of Ronum comedy is of a seiies
of tricks performed upon a given set of characters in
tyfacal situations ; so is it with Every Man in His Humor.
The play is built upon the broad outhnes established by
classical tradition. Had Jonson himself been unable to
devise the way to tangle a plot so completely that no
solution seemed possible, and then suddenly to unravel
al! by siirprising disclosures at the end of the play, he
might have learned it from Roman comedy.*
The theory implicit in Every Man in His Humor is
clearly that of the New Comedy. The theme does not
concern the State at large, nor does it pubhcly attack
those in authority. It does, however, reveal the life of
the time, and the customs and manners of the people. In
thus attempting to perceive and reveal the truth about
human nature, it naturally discloses the vanity and
* Cf. PohhIus, AmphitryoH. ' Captivi, Menachmi, Rudem.
* Baeehides, Psntdolus, Cureulio, Phormio.
* Croiset, Hitloire d* la LitUrafure Grtequt 3. 391—633.
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xciv liUroductioH
weakness current in society. This theme could be devel-
oped at any time in any country ; and Jonson was pecu-
liarly fitted to do it for England.
It must not .be assumed, however, that Jtmson was a
mere copyist, lacking in originality. Technically con-
sidered, no one of the Elizabethan poets is more original
than he. The last charge which could be brought against
him is that of being un-English. It has been seen that
an analysis of Every Man in His Humor reveals parallels,
conscious or unconscious, to the most essential basic-
elements of Latin Comedy ; yet the material and particular
treatment are all new. He succeeded surprisingly well, as
ScheUing says, 'in picturing, in vivid realism, the ab-
surdities, the eccentricities and predicaments, so to speak,
of Elizabethan hfe in terms of a glorified adaptation of
the technique of Plautus. ' *
Gifford's interesting characterization of Bobadill em-
phasizes the Enghsh side of his nature : ' Bobadill has never
been well imderstood, and, therefore is always too lightly
estimated : because he is a boaster and a coward, he is
cursorily dismissed as a mere copy of the ancient bully,
or what is infinitely more ridiculous, of Pistol ; but Boba-
dill is a creature sui generis, and perfectly original. The
soldier of the Greek comedy, from whom Whalley wishes
to derive him, as far as we can coUect &om the scattered
remains of it, or from its eternal copyists, Plautus and
Terence, had not many traits in common with Bobadill.
Pyrgopolinices, and other captains with hard names, are
usually wealthy ; all of them keep a mistress, and some
of them, a parasite : but Bobadill is poor, as indeed are
most of his profession, which, whatever it might be in
Greece, hasnever been a gainful one in this country. Thoy
are ja-ofligate and luxurious ; but Bobadill is stained with
* Elf. Lil. during iht Lift Timt of SAoAm^wwv, p. *3i.
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Influence of the Classics xcv
no inordinate vice, and is besides so frugal, that "a bunch
of radishes, and a pipe to close the orifice of the stomach "
satisfy all his wants. Add to this, thai the vanity of
the ancient soldier is accompanied with such deplorable
stnpidity, that all temptation to mirth is taken away ;
whereas Bobadill is really amusing. ... In a word. Bo-
badiU has many distinguishing traits, and till a preceding
braggart shall be discovered with something more than
big words and beating to characteiize him, it may not be
amiss to allow Jonson the credit of having depended
entirely on his own resources.'
Baskervilli has a valuable chapter on the native ele-
ments in Every Man in His Humor. Parallel passages
are dted from English hterature : Brainworm is depicted
as the Elizabethan cony-catcher; Bobadill is seen to
follow a hne of progenitors in Enghsh hterature which
provide him with a sufficient ancestry ; Kitely is regarded
partly as reflecting previous treatments of jealousy in the
vernacular, and partly as original. Classical sources,
according to this theory, become the ' substance ', of which
Jonson's play is the 'shadow of a shadow.'
It is easy to look with a single eye at either the classical
or English aspects of a play of Jonson, whereas it is prob-
ably true that both are present. The classical themes
had foimd their way into England through Italian and
other' channels. Jonson was well versed in both Enghsh
literature and that of Greece and Rome ; there is no need
to attempt to minimize the influence of either upon him.
Indeed it seems to have been the happy combination of
these two forces which worked so fortunate a result in
his case. Were this not true, his contribution to hte--.
rature would be less than it is. To transmit an interest
in a former age to later ones is a goodly service. To
• English Elements in Jonson's Early Comedy, pp. 107—143.
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zcvi ItiiroductioH
demonstrate the possibilities of originality while one per-
petuates the useful forms of previous literature is an es-
sential merit. To teach people who have grown too indi-
vidualistic the value of restraint, and the virtues which
may reside in conformity, is in itself a sufficient achieve-
ment, for a hfe. In no play of Jouson's are the two
streams of influence more completely blended than here.
As a consequence, it is harder to study each, but the
value of the combination becomes more apparent.
E. Extracts from the Crltics
Ward {Hist. Engl. Dram. Lit., 2 d.. ed., 2. 344) : Every Man
in His Humour is justly recognized by most critics as a
work which is not only one of the happiest efforts of its
author, but also holds a place peculiar to itself in our
dramatic hterature. It may, in a word, be regarded as
the first important comedy of character proper pro-
duced on the EngUsh stage. I have elsewhere given my
reasons for not applying this designation to the earher
comedies of Sbakespere ; The Merchant of Venice, which
probably preceded Jonson's play in date, may be re-
garded as hovering on the boundary-line between comedy
of character and comedy of incident ; and the date of the
earher version of The Merry Wives, to which I should
certainly be inclined to give the former designation, is
at least uncertain. A further hterary significance at-
taches to Every Man in His Humour from the fact that
a large proportion of it is in prose, for which Ben Jonson,
following the example of Lyly, thus asserted a right on
the comic stage which was in the end to become a pre-
rogative,
Swinburne {Study of Ben Jonson, pp. 13—4) : Never
again did his genius, his industry, his conscience and his
taste unite in the triumphant presentation of a work so
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Extracts fom the Critics xcvii
faultless, so satisfactory, so absolute in achievement and
so free from blemish or defect. The only three others
among all his plays which are not unworthy to be ranked
beside it are in many ways more wonderful, more splendid,
more incomparable with any other product of human
intelligence or genius ; but neither The Fox, The Alche-
mist, nor The Staple of News, is altogether so blameless
and flawless a piece of work ; so free from anything that
might as well or better be dispensed with, so simply and
thoroughly compact and complete in workmanship and
in result. Molifire himself has no character more ex-
quisitely and spontaneously successful in presentation
aDd evolution than the immortal and inimitable Bobadil :
and even Bobadil is not unworthily surrounded and
supported by the many other graver or lighter characters
of this magnificient and perfect comedy.
Castelain (Ben Jonson, pp. 214, 215, 226, 227) : La
comfidie dont nous aliens nous occuper. Every Man in
Bis Humour, marque che£ son auteur plus d'assurance
et de talent. Dans la pr^cMente {The Case is Altered)
il s'^tait contents de fondre, en les d^marquant, deux
pi&ies de Plaute ; et bien qu'il les edt aiiublfe de costimies
modemes et de noms italiens, on reconnaissait du premier
coup d'oeil les h&'os du poAte latin. Son imitatiori n'^tait
pas un esclavage, son adaptation n'^tait pas une traduc-
tion ; mais on devinait dans ce premier essai une certaine
m^fiance de ses propres forces, le besoin qu'ont les enfants
de se sentir soutenus dans leurs premiers pas. Cette fois,
il se confie k son gfeie, il se risque k marclier seul, et Ton
va voir avec quel succte. Si cette nouvelle pifice appar-
tient encore an tjfpe plautinien, si Ton y trouve 4 la 16-
flcxicn des analogies avec la traditionnelle com^e latinc,
la part de I'originalit^ y est plus forte que celle de I'imi-
tation ; et cette oeuvre de debutant n'est pas loin d'etre
wt chef-d'oeuvre
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xcviii ItOroduction
Une pareUle £tude suffirait a sauver une pitee ; mais
celle-ci n'en a pas besoin. De toutes les com&Jies de
Jonson, si ce n'est pas la plus forte, c'est assur^ment
la plus jolie, la plus gaie, la plus agr^ble. On y trouve
presque toutes les quality du poite et Ton n'y trouve
aucuD de ses d^fauts. L'intrigue est viva, press^, amu-
sante ; les caract^res k peu pr£s tous intSressants, certains
d^cieusement comiques ; le dialogue est presque toujours
spirituel et d'un naturel exquis. On sent que le poite
en £crivant sa pi^e s'est profond^ent amus^; jamais
plus il ne retrouvera cette verve joyeuse et juvfinile.
Harass^ par de quotidiennes attaques, assombri par des
ennuis de toute sorte, il va perdre aussitdt cette fralcheur
de gaiety, ce rire franc et sans amertume qui ^claire cet
heureux d^but. II 6crira des com&iies plus profondes,
plus puissantes, peut-£tre mieux ^tes, plus admirables
en un mot ; mais celle-ci restera la plus charmante, celle
qu'on a le plus de plaisir k lelire ; et Ton ne peut s'em-
pficher de deplorer les circonstances qui ont attrist^ et
vieilli avant I'Sge le g&ie qui enfanta Bobadil.
F. Critical Estimate
It is not always that a single piece out of an author's
complete works may be said fully to represent his char-
acteristic method, and to suggest his entire contribution
to literature. . Yet it is hardly an exaggeration to main-
tain that in Every Man in His Humor, in its two versions,
the different phases of Jonson 's many-sided genius are
revealed. It is even conceivable that had this play alone
survived to us we might still speak of him to-day for
the various reasons which the whole range of bis writ-
ing has made familiar to us.
Jonson wrote, for the most part, in jffotest against the
romantic tendencies which dominated the minds of so
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Critical Estimate xcvix
many of his contemporaries, but The Case is Altered and
The Sad Shepherd are usually regarded as really belonging
to tbe romantic school. It is fair to assert, too, that the
mood which created these less characteristic works of
Jonson's is present in Every Man in His Humor. We
know that even Jonson was a devotee of the Muses, and
had a share in the instinctive love for poetry which per-
meated the atmosphere of his day. One would certainly
have divined this from tbe play in question, particularl>
in its earher version. A few stray harbingers of poetry
may be seen here, together with the splendid apology for
it which he sternly sacrificed in his revision. He who
saw in 'poesie' something of the 'blessed, xtemall, and
most true deuine,' than whose 'reuerend name nothing
can more adome humanity.' must have been possessed
with something of the poet's nature. One would have
been tempted to regard this early tribute to poetry, and
the language which conveyed it, as an earnest of possible
future poetic achievement. That these early promp-
tings of his inner spirit were not cultivated, but rather
allowed, and perhaps encouraged, to wither and decay,
Jonson's later history showed.
Far less difficult is it to feel and see that the authors
of the English Grammar, the Discoveries, and of this play,
are the same pers(Mi. The prologue to the version of
1616 emanates from one who would gladly be regarded
as a critic of poetry and the drama. He is a man with
a mission, who sets himself s ^uarely against the ill cus-
toms of the 'barren and infected age,' and 'the fat iudge-
ments of the multitude.' The future hterary dictator of
England is already seated on his throne, denouncing with
all sternness the methods of the 'leane, ignorant, and
blasted wits' of 'brainlesse guls,' who utter their 'stolne
wares' with great applause in 'vulgar ears.' The process
of revision disclosed in the two versions of Every Man in
n,g,i,7c.dbyG00t^lc
c Introduction
His Humor makes patent the cast of Jonson's mind.
It is highly critical, and the methods which it employs
are often academic. The man who could criticize his
own work and his fellows thus ably, could also, conceiv-
ably, evolve a critical treatise on men and morals.
To declare that this early comedy of Jonson's fore-
shadowed bis two later tragedies would be to overstate the
case. Yet, in this connection, it must be remember-
ed that tragedy was not his most natural or successful
medium for writing ; nor did he reveal in it any wholly
new type of excellence. The defects of Sejanus and
Catiline are also the defects which characterize other
parts of his work, though what would have served for
merit in his satiric comedy at times becomes a fault in
tragedy. As Briggs* puts it: 'Tragedy, like comedy,
teaches, but whereas comedy, dealing with common life,
instructs the ordinary man how to govern his passions
and rule himself by showing him that the indulgence of
passions and follies covers men with shame . . . tragedy,
dealing with the hves of those classes to whom the guid-
ance arid safe-conduct of society are entrusted, instructs
in a more deeply impressive fashion. . . . An ordinary
man, like Kitely, Sordido, Volpone, may fitly be dealt
with by ordinary means, ridicule or satire, or, on occasion,
a little wholesome correction ; but a Catiline, a Sejanus —
these men brave fate, and accordingly it is fate that deals
out their reward,' No new and hitherto undeveloped
power comes to light with the advent of Jonson's first
tragedy. Here, as before, he worked from classical
models, viewed men and women typically, and mixed,
with his story and picture a thesis of his own. All these
quahties are to be found in Every Man in His Humor,
and the real difference is that the early comedy is far
superior to the two experiments in tragedy.
1 Ed. of SejuHus, p. xxx.
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Critical Estimate ci
It is impossible to believe, too, that any later play of
Jonson is more truly indigenous to EnglisJi soil. It has
already been seen how closely identified with London
Every Man in His Humor is. In the same way, it epito-
mizes the affectations of the day. The craze for hawking
and hunting, the love of extravagant dress, the importance
assigned to the smoking of tobacco, the interest in dueling,
the affectation of 'melancholy,' the dabbling in poetry,
the fanciful oaths — these and other customs then current
animate the pages of this play. The Alchemist, Bartholo-
mew Fair, and Jonson's other comedies, may parody
different foibles, but not in a new way, nor in one better
able to suggest the temper of the Ehzabethan age.
Jonson, the satirist, is seen here in his twofold aspect.
Usually, with a bluff, good oatuied wit, he bits off the
idiosyncracies of his companions in merry Horatian vein.
But occasionally, with Juvenahan sternness, he arraigns
the decadent poets about him, and the methods of the
drama which seem to him false. He here juggles enot^h,
too, with ethical laws to render it difficult to decide
whether he is in all other cases the disinterested advocate
of pure morality. All this, again, is typical of the Jonson
of the later plays. Merry twice to caustic once, to the
end of his hfe he could readily be either, nor can it ever
be proved that Jonson, the 'austere morahst,' imiformly
deserves this title.
It may be urged that the structure of Every Man in
His Humor is weak, while the plot of The Alchemist
was "one of the three most perfect ever planned.'' There
is little development of action in the former. A father
is tricked by his servant and son in a variety of ways.
This summarizes the entire plot. There are tricks in the
b^inning, more tricks later, and a kaleidoscopic array of
■ Coleridge, Tabl* Talk (ed. Aibe. i8S8), p. 294.
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cii Introduction
them at the end. This last act is structurally the clev-
erest in the play, but, after all is said, it is clear that the
chief excellence of this comedy is not to be fotmd in its
plot. Epiccene. Volpone, and The Alchemist are all better
ordered than Every Man in His Humor, but the virtues
most easily recognized here, as before, are those of char-
acterization, satire, or the picture of manners shown.
Indeed Castelain insists that the excellent structure of
The Alchemist was a fortunate accident.'
It is natural, in discussing any poet or playwr^ht of
the Elizabethan age, to contrast him with Shakespeare,
its greatest genius. In the case of Jonson, by common
consent placed second only to Shakespeare, such a com-
parison becomes inevitable. The resulting inferences are,
in the main, illuminating and helpful. Shakespeare is
apfffehended more clearly as the greater of the two. He
succeeded, upon a firm substratimi of intelligible plot and
story, in creating a section of hfe, filled with people, the
best of whom possess rich personalities, which reveal
eternally human traits. Preeminent both as a lyrical and a
dramatic poet, he also combined the ephemeral traits,
which made him popular among his own generation, with
the universal ones which gave him enduring fame. Jon-
, son, on the other hand, is seen as the great 'conscious
*^ artist,' intellectual rather than emotional, who ruthlessly
checked the romantic impulses of his youth. A theorist
always, imbued with classical tradition, he imposed upon
England a new type of comedy, in which characterization
drawn from contemporary life was placed above plot ;
the revelation of the 'humours' of mankind became
the raison d'Hre of these characters, and a didactic
purpose was often apparent. High praise is tp be ac-
corded Jonson for his chastening influence upon the
^ Castelain, Jonson, p. 506 ; 'A vrai dire, mSme pour un Anglais,
il composait mal.'
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CriUcat Estimate ciii
unchecked freedom of the romantic school, but his dearth
of imagination, and his stem determination to reveal the
tyfucal in manldnd, relegate him to the second [dace for
posterity. The decadence of the drama follows upon him
swiftly, in spite of his gigantic efforts.
After the broad lessons of this famihar comparison are
appreciated, one must wonder if the whole truth has been
told. Are Jonson's plays filled with mere automata or
manikins, who stalk about the stage, rehearsing, parrot-
fa^on, the personal thoughts which come to Jcmson ?
To these Questions Every Man in His Humor furnishes
a partial answer. It is certain that Shakespeare would
have employed the same material quite differently. The
pathos of age divested of authority, and the unnatural
plotting of a son against a father, might have been sjmi-
pathetically revealed in Old Knowell. Young Knowell
would certainly have been one of the attractive yoimg
men of the Orlando-Romeo group, of whom Shakespeare
never wearied. Bridget would have gained a fairer name,
and have been invested with all the charm of Rosalind or
JuUet. How completely the love-motive would have
dominated the Shakespearian play, it is easy to imagine.
Stephen would have made a good cousin to William, and
Shakespeare could have used him. The Mermaid or the
Windmill tavern would have been the occasion for scenes
of roistering merriment. A true repentance on Young
Knowell's part, and a touching reconcihation-scene be-
tween him and his father, would have made a probable
conclusion. Clothe this material in the poetic language
of Shakespeare, and surround it with the romantic atmo-
sphere which only he could have created, and the play
could easily become a canonical member of the Shake-
spearian group.
Jonson's production is a lesser one than Shakespeare's
on a kindred subject might have been, but it has its own
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merits. The characters have few distinguishing qualities,
but in a group there is considerable diversity seen, and
skilful actois could, throu^ these rdles have vitally pre-
sented the London life represented here. Old Knowell's
rather passive morahty and credtilous nature, Stephen's
aping of city manners and constant blundering. Brain-
worm's never-ending tricks on all about him, Bobadill's
vainglorious boasts and final discomfiture — these unite
to interest and entertain, by methods independent of the
humor-idea as such. The heaviness of tone and remote-
ness from life which was soon to characterize such plays
as Every Man out of His Humor and Cynthia's Revels
had not yet appeared. Kitely's jealousy, Matthew's zeal
for versifying, Bobadill's vanity and boasting — ^these are
humors which have not yet degenerated into mere ab-
stractions. There is a lightness of touch here, a whole-
some merriment, which is absent in many of the later
plays.
One is tempted, in praising the Aristotelian-Shake-
spearian t3rpe of drama, with its basis of excellent plot,
to minimize the real achievement which Jonson won. It
was no small thing to throw away all help which might
come from poetic language, to reject the favorite devices
of the EUzabethan playwrights and public, and to seek
to reinvest with fresh interest and meaning for English-
men a classical tradition which had once already been
transferred and adapted to new conditions. It is hardly
realized yet how successfully and potently Jonson ac-
comphshed this. His tremendous influence is not suffic-
iently to be accoimted for by his encyclopfedic learning;
it must reside in his works themselves. Since plays
in the form of comedies are his most typical work, it is
heie that his influence must chiefly lie, and no play will
serve better than Every Man in His Humor as a speci-
men of the kind of drama which enjoyed this unusual
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Critical Estimate cv
popularity. To attempt to trace in detail the influence
of Jonson on humor comedy would require a separate
study,* He never grew weary of the 'humor' idea,'
and those who imitated him seized first upon this feature
of his work. The portrajral of 'humors' certainly per-
sisted till the time of Dickens; and to Jonson, more than
any one man, most credit be given for the first devel-
opment of the conception, and the realization of its
possibilities.
Every Man in His Humor, then, is thoroughly char-
acteristic of Jonson's final body of work. Less excellent
in detail than The Alchemist, Epiccene, and Volpone,
there is a naturalness, spontaneity, and interest in this
play which they do not surpass. It alone could have
taught all later drama lessons in seriousness of purpose,
the possibilities of character-study and the portrayal of
manners, and the variety of results attainable within the
hmits of a traditional framework. When tested before the
higher tribunal which judges on ultimate grounds only,
this comedy is in the second rank. In forbidding him-
self the use of poetry. Jonson diminished, by more than
half, the possibihties which were open to him. It is
unmistakable, also, that neither this nor any of his plays
contains that 'utmost spiritual content' which is de-
manded of the highest type of Uterature.
' See Kerr's Infiutnce of Btn Jonson on English Comedy.
* Cf. ladac. to Magneiie Lady {Whs. 6. 8—9) :' The author begiimiiig
his studies ol this kind, mth Every Man in His Humoitr ; and after Hutfry
Man out of His Humour ; and since, continuiag in aJl hia playa, especi-
ally those of the comic thread, whereof the Ntw Inn nas the last,
some recent hnmoars still, or manners of men. that went along with
the times : finding himself near the close, or shutting up of his circle,
bath fancied to himself, in idea, this Magnetic Mistress. . . . And this
be bath called Humours ReeonetM.
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EVERY MAN
IN HIS HUMOR
TEXT
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EDITOR'S NOTE
The quarto teirt here jointed aims to reproduce as
exactly as possible an original copy of the quarto of 1601.
In one instance (3. 2. 84), a conuna not found here is
inserted from the authority of a second original. Its
absence was unique here, and the worn condition of the
paper made it seem advisable to substitute the other -
reading from a source which showed a better state of
preservation. The foho text is based upon a copy of the
1616 edition. The footnotes to the text include differ-
ences of sufficient importance to make it possible to
r^ard them as emendations ; the corrections of the most
palpable errors ; the folio variants ; stage-directions from
later editions, principally Gifford's. The only variants
recorded in footnotes for the quarto are the quarto
variants and those from Bang's reprint. A detailed de-
scription of the various editions is included in the In-
troduction; here are placed mistakes of later editions,
illustrations of the alterations due to general linguistic
change, and of the distinguishing characteristics of the
various editions. The fninciple of discrimination has not
been applied with perfect ease to every given instance,
but it is hoped that a sufficiently complete textual his-
tory can be found firom the combined information. The
method employed is further discussed in the Intro-
duction, pp. XXX, xxxi.
W* = White's copy of the quarto used as the basis
of the present text.
W = White's copy of the quarto used for com-
parison.
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I Editor's NoU
P = Phelps' copy of the folio of 1616.
B = Bang's reprints of quarto and first folio.
1640 = Second Folio, 1640.
1692 = Third Folio, 1692.
1716 = Booksellers' edition of 1716.
W = Whalley's edition of 1756.
G = Gifford's edition of 1816.
Wh = Wheatley's edition of 1877.
N = Nicholson's edition of 1893.
H = Hart's edition of 1906.
Ga = Gayley's edition of 1913.
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EVERY MAN IN
his Humor.
Asjt hathbeene fundry times
fiiblicl^ly' aded.by the right
Honorable the Lord Cham-
btrldine hisferuants.
Written by Ben. Iohnson-
^od /ton daTHproceres,^abit Hiftrio.
Haudtamen inuidias.vaU ejuem pulpitapafcttnt.
Imprinted ai London iorfVaUerSurrt^Andsx^io
hffoaUas hispjcpjK t'n PauUs Church-yardt.
itfoi.
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Euery
M A N I N
, HIS
' H V M O V R.
AacdintheyeeFei^pS. Bychethea
Lotd ChanibctUine his
Senuiin.
1 •
J The Author B. I.
] a V E ir.
Hudtmaiimdiatvaij^tmfii^f^iiiit.
London,
Piinted b/ William Stansb«.
M. »c JtVl.
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The number and names of
the Actors.
Lorenzo jenior.
GiuUiano.
Prolpero.
Lorenzo iunior.
Thoretto.
Biancha.
Stepharto.
Hefperida.
Doctor Clemmt.
Veto.
BobaiiUa.
Mathto.
Mulco.
Pizo.
Cob.
Tib.
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The Perlons
KnoVell, An old Gentleman,
Ed. KnoVelx., His Sonne.
Beuvni-worue, The Fathers man.
H'. Stephen, A counlrty GuIL
Downs-right, A phine SqitUr.
Well-Bred, His kalfe Brother,
Irer. Clement, An old merry
Magi/trat.
Roger Pokuau., His Clarke.
of the Play.i
Kttelv, a Merchant.
Dame Kitely, His fVrfe.
M". Bridget, His Sifter.
M'. Matthew, The towne-gull.
Cash, Kitguss Man,
Cob, A Water-bearer,
Tib, Hts Wife.
Oaf. Bobadill, A Paules-maH.
THE SCENE
^ The matter on tius page is printed after tlie Dtdicalion to Camden
in the Folio of 1616.
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TO THE MOST
LEARNED, AND
MY HONOR'D
Friend,
M'. Cambden, Clarentiavx.
SIR.
Here are, no doubt, a/uperciHousrace
in the world, who will esteeme all office,
done you in this kind, an tniurie; fo
foUmne a vice it is with them to vfe the ■<
auihoritie of their ignorance, to the
crying downe of Poetry, or the Pro-
fellors: Bui, my gratitude muft not
leaue to correct their error; lince I
am none of thofe, that can juffer the benefits confer'd »;
vpon my youth, to perifh with my age. Jt is a fraOe
memorie, that remembers hut frefent things: And, had the
fauour of the times fo conspir'd with my difpofition, as it
could haue brought forth other, or better, you had had the
fame proportion, & number of the fruits, the firft. Now, *
I pray you, to concept this, juch, wherein neither the con-
feffion of my manners fhaU make you Uufh; nor of my
Itudies, repent you to haue beene the inftrucler: And, for
the profeffion of my thanke-fulneffe, J am fure, it will,
with good men, find either praife, or excufe. >•
Your true louer,
Ben. Ionson.
5 ClarttHiavx^ ia omitted in P, bat appears in B and all later
editioDS.
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EVERY MAN IN
HIS HVMOVR.
PROLOGVE.
f^Sk E
Hough neede make many Poets, and
tome fuch
As art, and nature haue not better-
d much;
Yet ours, for want, hath not fo s
lou'd the ftage.
As he dare feme th'iU cuftomes of
the age :
Or purchafe your deUght at fuch
a rate.
As, for it, he himfelfe muft iuftjy hate.
To make a child, now fwadled, to proceede
Han, and then fhoote vp, in one beard, and weede,
Paft threefcore yeeres : or, with three ruftie fwords.
And helpe of fome few foot-and-halfe-foote words, i.
Fig^t oner Yi^ke, and Lancafters long iarres :
And in the tjting-houfe bring wounds, to fcarres.
He rather prayes, you will be pleas'd to fee
One Xuch, to day, as other playes Ihould be.
Where neither Chorus wafts you ore the feas ; >
Nor creaking throne comes downe, the boyes to pleafe ;
Nor nimble fquibbe is leene, to make afear'd
The gentlewomen ; nor roul'd bullet heard
To fay, it thunders ; nor tempeftuous drurame
Rumbles, to tell you when the ftonne doth come; .
But deedes, and language, fuch as men doe vfe :
And perfons, fuch as Comadie would chufe.
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Pnlogoe 21
When fhe would Ihfiw an Image of the times.
And Jport with humane follies, not with crimes.
Except, we make Hiem (uch by louing ftill {i
Our popular errors, when we know th*are ill.
1 meane luch errors, as youll all amfeffe
By iaughing at them, they delerue no lelfe :
Wbich when you heartily doe, there's hope left, then,
Yon, that faaue fo grac'd monlters, may like men. 3
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[ACT X, SC. I.
EVERY MAN
in his Humor.
ACTVS PRIMVS, SCENA PRIMA.
Enter Lorenzo di Pazzi Senior, Mufco.
IOw trult me, here's a goodly day toward.
Mufco, call vp my fonne Lorenzo : bid him
rile : tell him, I haue lome bufinelfe to im-
ploy him in.
Muf. I will, fir, prefently.
Lore. fe. But heare you, firrah ;
If he be at ftudy, diXturbe him not.
Mu/. Very good, fir. Exit Mufco.
Lore. fe. How happy would I eftimate my lelfe,
o Could I (by any meane) retyre my fonne,
From (me vajme courle of ftudy he affects ?
He is a fcholler (if a man may trult
The lib'rall voyce of double-toung'd report)
Of deare account, in all our Academies.
s Yet this pofition muft not breede in me
A &ft opinion, that he cannot erre.
My felfe was once a ftudent, and indeede
Fed with the lelfe-fcune humor he is now.
Dreaming on nought but idle Poeirie :
" But fince. Experience hath awakt my fprit's, Enta- Stephana.
And reafon taught them, how to comin^end
The foueraigne vfe of ftudy. What, coulin Stephana 7
What newes with you, that you are here fo earely ?
Steph. Nothing : but eene come to lee how you doe,
5 vncle.
Lore. fe. That's kindly done, you are welcome, coufin.
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Euery Man in his Humour.
ACT I. SCENE I.
KNO'WELL, BRAYNE-WORME, M' STEPHEN.
A Goodly day toward t and a frelh momiiig 1
Brayne-Worme,
Call vp your yong mafter: bid him rife, fir.
Tell him, I haue fome bufineffe to employ him.
Bra. I will fir, prefently. Kno. Butheareyou, firah, ;
If he be'at his booke, difturbe him not. Bra. Well fir.
Kho. How happie, yet, fhould I efteeme my felfe
Could I (by Euiy practile) weane the boy
From one vaine courfe of ftudie, he ailects.
He is a fcholler, if a man may truft >.
The liberall voice of fame, in her report
Of good accompt, in both our vniuerjities.
Either of which hath fauom-'d him with graces :
But their indulgence, muft not fpring in me
A fond opinitm, that he cannot erre. t-
My felfe was once a ftudent ; and, indeed.
Fed with the felfe-fame himiour, he is now.
Dreaming on nought but idle poeirie.
That froitleffe, and vnprofitable art.
Good vnto none, but lealt to the profeffors, »
Which, then, I thought the miftreffe of all knowledge :
But fince, time, and the truth haue wak'd my iudgement.
And reafon taught me better to djftinguilh,
The vaine, from th' vfetull learnings. Coffin Stephen I
What newes with you, that you are here fo early ? =.
Ste. Nothing, but eene come to fee how you doe, vncle .
Kno. That's kindly done, you are wel-come, coutfe.
A SIrMl. EnUr KttoweU al Iht door of his Houst. G
A Plot before KnoveU's House. Enttr Knowell from his house. N
2 (Enltr Brainworm. G 6 be'at] be at i640-l- txe. be't N
6 Well Or] Very Good, sir. G 24 learnings. [£nf«r master
Stephen. G 6 [£*«. G
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26 Euery man in his Humor [ACT i, SC. I
Steph. I, I know that fir, I would not haue come eUe :
how doeth my coufin, vncle ?
Lore. /fi. Oh well, well, goe in and fee ; I doubt hee's
30 fcarce ftirring yet.
Steph. Vncle, afore I goe in, can you tell me, and he
haue e're a booke of the fciences of hawking and hunting ?
[6] I would fayue borrow it.
Lor. Why I hope you will not a hawking now, will
3S you?
Step. No wuffe ; but ile practife againft next yeare :
I haue bought me a bawke, and bels and all; I lacke
nothing but a booke to keepe it by.
Lor. Oh moft ridiculous.
*•■ Step. Nay looke you now, you are angrie vncle, why
you know, and a man haue not fkill in hawking and
hunting now a dales, ile not giue a rufh for him ; hee
is for no gentlemans company, and {by Gods will) I
fcome it I, fo I doe, to bee a confort for euerie hum-
*i drum ; hang them jcroiles, ther's nothing in them in the
world, what doe you talke on it ? a gentleman muft
fhew himfelfe like a gentleman, vncle I pray you be not
angrie, I know what I haue to do I trow, I am no nouice.
Lor. Go to, you are a prodigal, and felfe-wild foole,
so Nay neuer looke at me, it's I that fpeake,
Take't as you wiU, ile not flatter you.
What ? haue you not meanes inow to waft
That which your friends haue left you, but you muft
Go caft away your money on a Buzzard,
ss And know not how to keepe it when you haue done ?
Oh it's braue, this will make you a gentleman.
Well Cofen well, I fee you are e'ene paft hope
Of all reclaime ; I fo, now you are told on it, you looke
another way.
*« Step. What wouW you haue me do trow?
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ACT I, SC. IJ Euery Man in his Humour 27
Ste. I, I know that fir, I would not ha* come die.
How doe my couffin Edward, vncle ?
Kmo. O, well couXfe, goe in and fee : I doubt he be so
tcarfe Itiiring yet.
Ste. Vncle, afore I goe in, can you tell me, an' he
hane ere a booke of the fciences of hawking, and hunting ?
I would faine borrow it.
Kno. Why, I hope you will not a hawking now, will as
you?
Step. No wulfe ; but I'll practife againft next yeere
vncle : I haue bought me a hawke, and a hood, and bells,
and aU; I lacke nothing but a booke to keepe it by.
Kmo. O, moft ridiculous. [g]
Step. Nay, looke you now, you are angrie, vncle :
Tirfiy you know, an' a man haue not skill in the hawking,
and hunting-languages now a dayes, I'll not giue a rufb
fOT him. ITiey are more ftudied then the Greeke. or the
Laiine. He is for no gallants companie without 'hem. ,s
And by gads hd I fcome it, I, fo I doe, to be a conlort
for euery hum-drum, hang 'hem fcroyles, there's nothing-
in "hem, i' the world. What doe you talke on it ? Be-
caufe I dwell at Hogjden, 1 fliall keepe companie with
none but the archers of Finsburie } or the citizens, that go
come a duckii^ to Iftington ponds ? A fine ieft ifaith 1
Slid a gentleman mun fhow himfelfe like a gentleman.
Vncle, I pray you be not angrie, I know what I haue
to doe, I trow, I am no nouice.
Kno. You are a prodigal! ablurd cockf-combe : Goe to. a
Nay neuer lo<^e at me, it's I that fpeake.
Tak't as you will fir, III not flatter you.
Ha' you not yet found meanes enow, to waft
That, which your friends haue left you, but you muft
39 doe] does 1640+ «'c- Ga
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EuCTjr man in his Humor [ACT I, SC. I
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ACT I. SC. I] Euery Man in his Humour 29.
Goe caft away your money on a kite, *•
And know not how to keepe it, when you ha* done ?
0 it's comely ! this will make you a gentleman I
Well cofen, welll I fee you are eene paft hope
Of all reclaime. I, fo, now you are told on it.
You iooke another way. Step. What would you ha' *>
me doe ?
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• 30 Euery man in his Humor [ACT I, SC. I
Lor. What would I haue you do ? mary
Leame to be wife, and practife how to thiiue.
That I would haue you do, and not to fpend
Your crownes on euerie one that humors you :
*s I would not haue you to intrude your Xelfe
In euerie gentlemans fodetie.
Till their affections or your owne defert.
Do worthily inuite you to the place.
For he thats fo refpectlelfe in his courfe,
^ Oft fels his reputation vile and cheape.
[7] Let not your cariage, and behauiour tafte
Of affectation, left while you pretend "
To make a blaze of gentrie to the world
A Uttle puffe of scome extinguifb it,
" And you be left like an vnfauorie Aiufte,
Whole propertie is onely to offend.
CofcD, lay by fuch fuperficiall formes.
And entertaine a perfect reall fubftance.
Stand not fo much on your gentihty,
EiUer a feruingman.
8" But moderate your expences (now at firft)
As you may keepe the fame proportion ftill.
Beare a low faile : foft who's this comes here.
Ser. Gentlemen, God kue jrou.
Sup. Welcome good friend, we doe not ftand much
Bs vpon our gentihtie ; yet I can assure you mine vncle is
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ACT I. sc. II] Euery Man in his Humour 31
Kno. What wotUd I haue you doe ? Ill tell you
Ifinfman,
Leame to be wife, and practife how to thriue.
That would I haue you doe : and not to Ipeod ja
Your coyne on euery bable, that you phanfie,
Or euery fooliih braine, that humors you.
I would not haue you to inuade each place.
Nor thruft your felfe on all focieties.
Till mens affections, or your owne defert, n
Should worthily inuite you to your ranke.
He, that is fo reXpectleXfe in his courfes,
Oft fells his reputation, at cheape market.
Nor would I, you fhould melt away your lelfe
In flatbing brauerie, leaft while you affect to
To make a blaze of gentrie to the world,
A httle pufie of fcome extinguifh it.
And you be left, like an vnfauorie fiiufle,
Whofe propertie is onely to offend.
rid ha* you fober, and containe your felfe; ss
Not, that your fayle be bigger then your boat :
But moderate your expences now (at firft)
As you may keepe the fame proportion ftill.
Nor, ftand fo much on your gentihtie,
Which is an agrie, and meere bonow'd thing, P]
From dead mens duft, and bones: and none of yours
Except you make, or hold it. Who comes here ?
ACT I. SCENE 11.
Servant, M'- Stephen, Kno'well,
Brayne-Worme.
OAue you, gentlemen.
Step. Nay, we do' not ftand much on our genti*
litie, friend; yet. you are wel-come, and I affure you,
92 it [Enltr a Servant. G 2 do'not] do not 1639+ *»e, don'tN
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32 Euery man in his Humor [ACT i, sc. I
a man of a thoufand pounde land a yeare ; bee hath
but one fonne in the world ; I am his next heire, as
(imple as I Itand here, if my cofen die : I haue a faire
liuing of mine owne too befide.
«° Ser. In good time fir.
Sup. In good time fir ? you do not flout, do you ?
Ser. Not I fir.
Step. And you fhould, here be them can perceiue it,
and that quickly too : Go too, and they can give it
9s againe foundly, and need be.
Str. Why fir let this fatiffie you. Good fciith I had
no fuch intent.
Step. By God, and I thought you had fir, I would
talke with you.
'" Ser. So you may fir, and at your pleaXure.
S^. And fo I would fir, and you were out of mine
vncles ground, I can tell you.
Lor. Why how now cofen, will this nere be left ?
Step. Horfon bafe fellow, by Gods Ud, and't were not
"i for fhame, I would.
Lor. fe. What would you do ? you peremptorie Affe,
[8] And yowle not be quiet, get you hence.
You fee, the gentleman contaynes himfelfe
In modeft limits, giuii^ no reply
"" To yom vnfeafon'd rude comparatiues ;
Yet yowle demeane your felfe, without refpect
Eyther of duty, or humanity.
Goe get you in : fore God I am afham'd Exit Stepk.
Thou haft a kinfmans intereft in me.
"i Ser. I pray you, fir, is this Pazzi houfe ?
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ACT I. SC. II] Euery Man in Aw Bumow 33
mine vnde here is a man of a thouiand a yeare, Middtefex
land : hee has but one fonne in all the world, I am his next :
hdie (at the common law) mafter Stephen, as limple
as I ftand here, if my coffen die (as there's hope he will) I
baue a prettie liuing o' mine owne too, befide, hard-by heie.
Serv. In good time, fir.
Step. In good time, fir ? why I and in a very good «
time, fir. You doe not flout, friend, doe you ?
Serv. Not I, fir.
Step. Not you, fir ? you were not beft, fir ; an' you
fhould, here bee them can perceiue it, and that quickly
to : goe to. And they can giue it againe foundly to, 'i
and neede be.
Serv. Why, fir, let this Xatisfie you : good faith, I
had no fuch intent.
Step. Sir, an' I thought you had, I would talke with
you, and that prefently. •=
SzRv. Good mafter Stephen, fo you may, fir, at
your plejifure.
Step. And fo I would fir, good my faude companion t
an' you were out o' mine vncles ground, I can tell you ;
though I doe not ftand vpon my gentilitie neither in't. »!
Kno. Coffen I coffen 1 will this nere be left ?
Step. Whorfonbafefellowl amechanicallferuing-mani
By this cudgell, and 't were not for fhame, 1 wo^
Kno. What would you doe, you peremptorie gull ?
If you can not be quiet, get you hence. 3*
You fee, the honeft man demeaces himfelfe
Modeftly to'ards you, giuing no replie
To your vnfeafon'd, quarrelling, rude fafhion :
And, ftill you huffe it, with a kind of cariage.
As voide of wit, as of hnmanitie. u
Goe, get you in ; fore heauen, I am afham'd
Ihou haft a kinfmans intereft in me.
Serv. Iprayyou,£r. XsthismafterKNo'wEix'shoufe?
37 me. {Exit masUr Sltphtn. G 38 I prmy yon, air.] I pray
(ir 1640-)- «xe. N. Ga
n,g,i,7c.dbyG00'^lc
34 Enoy man in his Humor [act i, sc. I
Lor. fe. Yes mary is it, (ir.
Ser. I fliould enquire for a gentleman here, one Signior
Lorenzo di Pazzi ; doe you know any fuch, fir, I pray you ?
Lore. je. Yes, fir : or elle I should forget my felfe.
"" Ser. I crye you mercy, lit, I was requested by a
gentleman of Florence (hauing fome occafion to ride this
way) to deliuer you this letter.
Lor. je. To me, fir ? What doe you meane ? I pray
you remember your curt'fy.
"* To his deare and moft elected friend, Signior Lorenzo di
Pazzi. What might the gentlemans name be, fir, that
fent it ? Nay, pray you be couer'd.
Ser. Signior Pro/pero.
Lore. fe. Signior Pro/pero ? A young gentleman of
ij* the family of Strozzi, is he not ?
Ser. I, fir, the fame : Signior Thorello, the rich Floren-
tine merchant married his fitter. Enter Mufco.
Lore. je. You fay very true. Mufco.
Muf. Sir.
»» Lore. fe. Make this Gentleman drinke, here.
I pray you goe in, fir, and't pleafe you. Exeunt.
Now {without doubt) this letter's to my fonne.
Well : all is one : lie be fo bold as reade it.
Be it but for the ftyles fake, and the phra/e;
>4o Both which (I doe prefume) are excellent.
And greatly varied from the vulgar forme.
If Profpero's inuention gaue them life.
[9] How now ? what ftufie is here ?
Sirha Lorenzo, / mufe we cannot fee thee at Florence :
'45 S'Mood, I doubt, Apollo hath got thee to be his Ingle, that
thou commest not abroad, to vifit thine old friends: well, take
heede of him; hee may doe fomewhat for his houfhold
n,g,i,7cd by Google
ACT I, sc. It] Every Man in his Humour 35
Kno. Yes, marie, is it fir.
Sesv. I ihould enquire for a gentleman, here, one 40
inafter Edward Knd'well: doe you know any fuch,
Gr, I pray you ? [9]
Kno. I Ihould forget my felfe elfe, fir.
Serv. Are you the gentleman ? crie you mercie fir ;
I was requir'd by a gentleman i' the dtie, as I rode out 4s
at this end o' the towne, to deliuer you this letter, flr.
Kno. To me, fir ! What doe you meane ? pray you
remember your court'fie. (To his moft /elected friend,
mailer Edward Kno'well.) What might the gentle-
mans name be, lit, that lent it ? nay, pray you be 5=
coner'd.
Serv. One mafter Well-bred, fir.
Kno. Mafter Well-bred I A yong gentleman ? is
he not ?
Serv. The lame fir, mafter Kitely married his ss
filter : the rich merchant i' the old lewrie.
Kno, You lay very true. Braine-worme,
Bray. Sir.
Kno. Make this honeft friend drinke here : pray you
goe in. «•
This letter is directed to my fonne :
Yet, I am Edward Kno'well too, and may
With the fafe confcience of good manners, vfe
The fellowes error to my fatisfaction.
Well, I will breake it ope (old men are curious) 6,
Be it but for the ftiles fake, and the phrafe.
To fee, if both doe anfwere my fonnes praifes.
Who is, almoft, growne the idolater
Of this yong Well-Beed: what haue we here ? what's
this? 7°
48 conrtlie. [Reads. G 57 Braina-wonne,! Brainworm. 169!+
37 Biaine-worme, [Enttr Broiawonu. G 60 [Exattal Brmnwonn
and Servtmi. G 70 IReads. G
n,g,i,7cd by Google
36 Eoery man in his Humor [ACT I, SC. I
leruants, or jo; Bid for his Retayners, I am jure, I haue
knowne fome of them, that haue followed him, three, foure,
's° fiue yeere together, scorning the world with their bare heeles,
6- at length bene glad for a fhtft. {though no cleane fhif^
to lye a whole winter, in halfe a fheete, curfing Charles
wayne, and the reft of the ftarres intolerably. But (quis
contra diuos ?) weU; Sirha, fweete viUayne, come and fee
■5s me; but ffend one minute in my company, and 'tis enough:
I thinke I haue a world of good lefts for thee : oh fir ha, I can
fhew thee two of the moft perfect, rare, S- absolute true GuUs,
that euer thou faw'ft, if thou wilt come. S'hlood, inuent
fome famous memorable lye, or other, to flap thy father in the
160 mouth withall: thou haft bene father of a thoufand, in thy
dayes, thou could' ft be no Poet dfe: any fciruy roguifh
excufe will ferue; fay tfiou com' ft but to fetch wooll for thine
Inke-home. And tfien too, thy Father will fay thy wits are
a wooll-gathering. But it's no matter; the worfe, the better.
t6s Any thing is good inough for the old man. Sirha, how if
thy Father fhould fee this now? what would he thinke of
me? Well, (how euer I write to thee) I reuerence him in
my foule, for the generall good all Florence deliuers of him.
Lorenzo, / coniure thee (by what, let me fee) by the depth
no of our hue, by all the ftrange fights we haue feene in our
dayes, (I or nights eyther) to come to me to Florence this
day. Go to, you fhall come, and let your Mules goe
spinne for once. If tftou wilt not, f'hart what's your
gods name ? Apollo ? / ; Apollo. If this melancholy rogue
ITS (Lorenzo here) doe not come, graunl, that he doe tume Foole
prefently, and neuer hereafter, be able to make a good lest,
or a blanke verfe, but Hue in more penurie of wit and
Inuention, then eyther the Hall-Beadle, or Poet Nuntius.
Well, it is the ftrangelt letter that euer I read.
■to Is this the man, my fonne (fo oft) hath prayl'd
To be the happieft, and moft fn^tious wit
n,g,i,7cd by Google
ACT I. SC. II] Euery Man in his Humour
friends i' the old lewrie ? or doft thou ikinke vs all lewes
thai inhabit there, yet? If thou doft, come ouer, and but
/« our fripperie: change an olde jhirt, for a whole fmocke,
with vs. Doe not conceiue that aniipathy beiweene vs, and n
Hogs-den ; as was betweene lewes, and hogs-flefh. Leaue
thy vigilant father, alone, to number ouer his greene apri-
cots, euening, and morning, o' the norlh-weft wall: An' I
had beene his [onne, I had fau'd him the labor, long jince;
if, taking in oil the yong wenches, that pajje by, at the ^
back-dore, and codd'ling euery kerneU of the fruit for 'hem,
would ha' feru'd. But, pr'y thee, come ouer to me, quickly,
this mornii^: I haue fuch a prefent for thee {our Turkie
companie neuer fent the like to the Grand-SiGNiOE.)
One is a Rimer fir, o' your owne batch, your owue levin; H
but doth think himfelfe Poet-maior, o' the towne: willing to
be jhowne, and worthy to be jeene. The other / wiU
not venter his defcription with you, till you come, becaufe
I would ha' you make hether with an appetite. If the worft
of 'hem be not worth your iomey, draw your bill of charges, 9°
as vnconjcionaUe, as any Guild-hall verdict will give it you, [10]
and you fhali be aUow'd your viaticum.
From the wind-mill.
From the Burdello, it might come as well ;
The Spittle: or Pict-hatch. Is this the man, m
My lonne hath (mig fo, for the happieft wit,
The choyfeft braine, the times hath lent vs forth ?
I know not what he may be, in the arts ;
73 thtrt, yUf} there ? Yet 1692+ txc. N, Ga 85 owue]
vwne 1640+
n,g,i,7cd by Google
38 Eatay man in Ids Humor [ACT I. SC I
That euer was ^miliar with Art ?
[10] Now (by our Ladies bleffed fonne) I Iweare,
I rather thinke him molt infortunate,
iti In the poIfelGon of such holy giftes.
Being the matter of fo loofe a fpirit.
Why what vnhallowed ruffian would haue writ.
With fo {ffophane a pen, vnto his friend ?
The modeft paper eene lookes pale for griefe
■90 To feele her virgin-cheeke defilde and ftaind
With fuch a blacke and criminal! injcription.
Well, I had thought my fon could not haue ftraied.
So faire from iudgement, as to mart himfelfe
Thus cheapely, (in the open trade of fcorne)
191 To gearing folUe, and fantaftique Humour.
But now I fee opinion is a foole.
And hath abufde my fences. Mufco.
Enter Mufco.
Muf. Sir.
Lor. le. What is the fellow gone that brought this
«-> letter ?
Muf. Yes 0r, a prettie while fince.
Lor. je. And wher's Lorenzo ?
Muf. In his chamber fir.
Lor. fe. He fpake not with the fellow, did he ?
»5 Muf. No fir, he faw him not.
Lor. fe. Then Mufco take this letter, and deliuer it
vnto Lorenzo: but firra, (on your life) take you no knowl-
edge I haue open'd it.
Muf. O Lord fir, that were a iest in deed. Exit Mus.
"o Lor. fe. I am retolu'd I will not croffe his ioumey.
Nor will I practife any violent meane,
To ftay the hot and luftie courfe of youth.
For youth reftraind ftraight growes impatient.
n,g,i,7cd by Google
ACT I. sc. II] Ettery Man in his Humow 39
Nor what in Ichooles : but furely, for his manners,
I iudge him a prophane, and diifolute wretch : "
Worfe, by poffelfion of luch great good guifts,
Being the mafter of fo loo/e a fjarit.
Why, what vnhallow'd ruffian would haue writ.
In fuch a scurrilous manner, to a friend I
Why fliould he thinke, I tell my Apri-cotes ? "
Or play th' Hefferian Dragon, with my fruit.
To watch it ? Well, my lonne, fhad thought
Y' had had more iudgement, t'haue made election
Of your companions, then t'haue tane on truft.
Such petulant, geering gamfters, that can fpare >■
No argument, or lubiect from their left.
But I perceiue, affection makes a foole
Of any man, too much the father. Brayne-worhe,
Bhay. Sir.
Kno. Is the fellow gone that brought this letter ?
Bha. Yes, fir, a pretie while fince.
Kno. And, where's your yong mafter ?
Bra. In his chamber fir.
Kno. He fpake not with the fellow I did he ?
Bra. No fir, be taw hjn) not. "
Kno. Take you this letter, and deliuer it my fonne
But with no notice, that I haue open'd it, on your life.
Bra. O lord, fir, that were a left, indeed t
Kno. I am refolu'd, I will not Itop his ioumey;
Nor practife any violent meane, to ftay "j
The vnbridled courfe of youth in him : for that,
Reftrain'd, growes more impatient, and, in kind,
109 then fhane taae] t'haue tane P, then t'haae tane B, 1640-I-
113 Brayne-wonne,] Brainwoim. 1640+ 113 Brayae-worme,
[Enttr BrainwoTTD. G 137 in kind] in-Idnd F, is kind B, i640'f
123 [E»U. G
n,g,i,7cd by Google
40 Euery man in his Humor [ACT i, SC
And (in condition] like an eager dogge,
"J Who (ne're fo little from his game withheld)
Tumes bead and leapes vp at his mafters throat.
Therefore ile Itudie (by lome milder drift)
[11] To call my fonne vnto a happier Xhrift. p^v
SCENA SECVNDA.
Enter Lorenzo iunior, with Mujco.
Muj. Yes lir, (on my word) he opend it, & read the
contents.
Lor. iu. It fcarfe contents me that be did fo. But
Mufco didft thou oblerue his countenance in the reading
5 of it. whether hee were angrie or pleaide ?
Mm/. Why fir I faw him not reade it.
Lo. iu. No ? how knoweft thou then that be opend it ?
Mm/. Marry fir becaufe he charg'd mee (on my life)
to tell no body that he opend it, which (vnlef fe he had done)
<° he wold aeuer feare to haue it reueald.
Lo. iu. Thats true : well Mufco hie thee in againe,
Leaft thy protracted abfence do lend light. Enter Suphan.
To darke luf pition : Mujco be affurde
lie not forget this thy relpectiue loue.
>s Sup. Oh Mujco, didit thou not see a fellow here in a
what-fha-callum doublet ; he brought mine vncle a letter
euen now ?
M»/. Yes fir, what of him ?
Step. Where is he, canft thou tell ?
" Muf. Why he is gone.
n,g,i,7cd by Google
ACT I. sc. iirj Euery Man in his Bumow 41
Like to the e^er, but the generous grey-hound,
Who ne're fo little from his game with-held,
Tumes head, and leapes vp at his holders throat. ijs
There is a way of winning, more by loue,
And vrging of the modeftie, then feare :
Force workes on leruile natures, not the free.
He, that's compell'd to goodnefle, may be good ;
But 'tis but for that fit: where others drawne [11]
By loftnelfe, and example, get a habit.
Then, if they Itray, but wame 'hem : and, the fame
They Ihould for vertu' haue dcMie, they'll doe for fhame.
ACT I. SCENE II.
Edw. K^fo'wELL, Brayne-worme.
M'- Stephen.
"P\Id he open it, fayeft thou ?
Bray. Yes, o'my word fir, and read the contents.
E, Kn. That [carle contents me. What coun-
tenance (pr'y thee) made he, i' the reading of it ? was
he angrie, or pleas'd ? :
Bray. Nay fir, I law him not reade it, nor open it,
I affiu-e yoiir worfhip.
E. Kk. No ? how know'ft tbou. then, that he did
either ?
Bray. Marie, fir, becaufe he charg'd me, on my hfe, "
to tell nobodie, that he open'd it : which, vnlefle hee
had done, he would neuer feare to haue it reueal'd.
E. Kn. That's true ; well I thanke thee, Blayne-
WORUE.
12S grey-houDd,] grey-hound ; P grey-hound. B 13S [E)Ht. G
Scene II] Scene III 1640-f A Room in Knowell's Home.
Enter E. Knowell. uiilh a Letter in his hand, followed by Braintiiorm. G
13 BlayDe-wonne] Brayne-worme 1640+ 13 [Bnitr Stephen. G
n,g,i,7cd by Google
Euery man in his Humor [ACT I, SC. If
n,g,i,7cd by Google
ACT I, SC. II] Euery Man in his Humour 43
Step. O, Brayne-worme, did'ft thou not fee a fellow
here in a what-flia'-call-him doublet 1 he brought mine i.
vncle a letter e'en now.
Bray, Yes, mafter Stephen, what of him ?
Step. O, I ha' fuch a minde to beate hipi ^Where
is hee ? canft thou tell ?
Bray. Faith, he is not of that mind : he is gone, "
mafter Stephen.
n,g,i,7cd by Google
44 Enery man io his Humor [ACT I, SC II
Step. Gone ? which way ? when went he ? how long
fince?
Muf. Its ahnolt balfe an houre ago fince he rid hence.
Step . Horlon Scanderbag rogue, oh that I had a horle ;
I, by Gods lidde i'de fetch biip backe againe, with heaue
and ho.
M«/. Why you may haue my mafters bay gelding,
and you will.
Step. But I haue no boots, thats the fpite on it.
y, Mu/. Then its no boot to follow him. Let him go and
hang fir.
Step. I by my troth ; Mm/co, I pray thee help to truffe
me a liltle ; nothing angers mee. but I haue waited fuch
a while for him all vnlac'd and vntruft yonder, and now
3, to fee hee is gone the other way.
Mm/. Nay I pray you ftand ftill fir.
Step. I will, I will ; oh how it vexes me.
[12] Muf. Tut, neuer vexe your felfe with the thought of
fuch a bale fellow as he.
*o Step. Nay to fee, he ftood vpon poynts with me too.
Muf. Like inough fo ; that was, becaufe he faw you
had fo fewe at your hofe.
Sup. What ? Haft thou done ? Godamercy, good
Mu/co.
4s Mm/. I marie, fir, you weare fuch ill-fauourd courfe
ftocldngs, hauing fo good a legge as you haue.
Step. Fo, the ftockings be good inough for this time
of the yeere ; but lie haue a payre of silke, e're it be long :
I thinke, my legge would shewe well in a filke hofe.
JO Muf. I afore God would it rarely well.
Step. In fadneffe I thinke it would : I haue a reafon-
able good legge.
Muf. You haue an excellent good le^e, fir : I pray
you pardon me, I haue a little hafte in, fir,
» Step. A thoufand thankes, good Mufco. Exit.
What, I hope he laughs not at me; and he doe
n,g,i,7cd by Google
ACT I, SC, III] Euery Mem in his Humour 45
Step. Gone ? irtiich way ? when went he ! how long
fince?
BsAT. He is rid hence. He tooke horfe, at the
ftreete dore. >s
Step. And, I ftaid i' the fields I horfon fcander-bag
rogue t 6 that I had but a horfe to fetch him backe
againe.
Bray. Why, you may ha' my m? gelding, to faue
your longing, fir. ^
Step. But, I ha' no bootes, that's the fpight on*t.
Bray. Why, a fine wifpe of hay, rould hard, matter
Stephen.
Step. No feiith, it's no boote to follow him, now : let
him eene goe, and hang. 'Fray thee, helpe to truffe me, js
a tittle. He dos fo vexe me
Bray. You'll be worfe vex'd, when you are trufs'd,
maJter Stephen. Beft, keepe vn-brac'd ; and walke your
leHe, till you be cold: your choller may foundre you
elfe. 40
Step. By my faith, and fo I will, now thou tell'ft
me on't : How doft thou like my legge, Bhayne-worme ?
Bray. A very good leg I mafter Stephen I but the
woollen ftocldng do's not commend it fo well.
Step. Fob, the ftockings be good inough, now fummer «j
is comming on, for the duft : He haue a paire of filke,
again' winter, that I goe to dwell i' the towne. I thinke
my legge would fhew in a filke-hofe. [12]
Brap. Beleeiie me, mafter Stephen, rarely well.
Step, fn fadneffe, I thinke it would : I haue a rea- y
fonable good legge.
39 mn-] mistrcM's 1716 35 'Pray thee] Prithee G, H
49 Brap.] Bray, 1640-i- 49 well,] well. 1693 +
n,g,i,7cd by Google
46 Euery man in his Humor [ACT I. SC. 11
n,g,i,7cd by Google
ACT I, SC. in] Entry Man m Ms Bnmmr 47
Bray. You haue an excelkait good legge, mafter
Stephen, bat I cannot ftay, to praife it longer now,
and I am very forie for't.
Step. Another time wil ferue. Bratne-wohme. Gra- y.
mercie for this.
^^" , E. Kn. Ha, ha, ha I
aiauSttttr. Step. Slid, I hope, he laug^es not at me, and he
doe
54 [£«*. G
n,g,i,7cd by Google
48 Eaery man in his Humor [ACT I, SC. II
Lo. iuu. Here is a ftyU indeed, for a maos fences to
leape ouer, e're they come at it : why, it is able to breake
the fhinnes of any old mans patience in the world. My
60 father reade this with patience 7 Then will I be made
an Eurutch, and leame to fing Ballads. I doe not deny,
but my father may haue as much patience as any other
man ; for hee vfes to take philicke, and oft taking phificke,
makes a man a very patient creature. But, Signior Pro-
«s (pero, had your fwaggering EpifUe here, arriued in my
fathers hands, at Inch an houre of his patience, (I meane,
when hee heid tane phiHcke) it is to bee doubted, whether
I Ihould haue read fweeie viUayne here. But, what ?
My wife coufin ; Nay then, lie fumifh our feaft with one
7B Gull more toward a melfe ; hee writes to mee of two, and
here's one, that's three, Ifayth. Oh for a fourth : now.
Fortune, or neuer Fortune.
Step. Oh, now I fee who he laught at : hee laught at
fome body in that letter. By this good light, and he
7! had laught at me, I would haue told mine vncle.
Lo. tun. Coufin Stephano : good morrow, good coulin,
[18] how fare you ?
Step, 'fhe better for jraur alking, I will affure you.
I haue beene all about to feeke you ; fince I came I faw
So mine vncle ; & ifaith how haue you done this great while ?
Good Lord, by my troth I am glad you are well coufin.
Lor. iu. And I am as glad of your comming, / proteft
to you, for I am lent for by a priuate gentleman, my
moft fp)eciall deare friend, to come to him to Florence
sj this morning, and you fhall go with me coufin, if it
pleafe you, not els, I will enioyne you no further then
n,g,i,7cd by Google
ACT I, SC. lU] Euery Man in his Humour 49
E. Kn. Here was a letter, indeede, to be intercepted «°
t^ a mans father, and doe him good with him ! Hee
cannot but thinke moft vertuoufly, both of me, and the
fender, fure; that make the careful! Coftar'-mcmger of
him in our familiar Epiftles. Well, if he read this with
patience. He be-gelt, and troll ballads for M'. Iohn *s
Tbvndle, yonder, the reft of my mortalitie. It is true,
and likely, my father may haue as much patience as
another man ; for he takes much phyficke : and, oft
taking phyficke makes a man very patient. But would
your packet, maiter Wel-bred, had airiu'd at him, in »»
fuch a minute of his patience ; then, we had knowne
the end of it, which now is doubtful], and threatens— —
What ! my wife coffen ! Nay, then, II efumifh our feaft
with one gull more to'ard the meffe. He writes to me
of a brace, and here's one, that's three : O, for a fourth ; n
Fortune, if euer thou'lt vfe thine eyes, I intreate thee
Step. O, now I fee, who hee laught at. Hee laught
at fome-body in that letter. By this good light, and
he had laught at me
E. Kn. How now, couffen Stephen, melancholy ? <"
Step. Yes, a little. I thought, you had laught at
me, coffen.
E. Kn. Why, what an' I had couffe, what would you
ha' done?
Sebv. By this li^t, I would ha' told mine vncle. H
E. Kn, Nay, if you wold ha' told your vncle, I did
laugh at you, couffe.
Sehv. Did you, indeede ?
E. Kk. Yes, indeede.
65 be-gelt] be gelt 1640+ exc. Ga 72 threatens— [««s matter
Stephen. G 73 II efnrnisb [lie fnrnish 1640+ 85 Serv.]
Step. 16404- »»e. Ga 81 Serv.] Step. 1640+ ixc. Ga
n,g,i,7cd by Google
50 Euery man in his Htimor [ACT I, sc II
n,g,i,7cd by Google
ACT I. SC. iq Every Man in kis Smiumr 51
Step. Why, then »"
E. Kn. What then ?
St£p. I am fatisfied, it is fufficient.
E. Kk. Why, bee fo gentle couffe. And, I pray you
let me intreate a courteJQe of you. I am lent for, this
morning, by a friend i' the old lewie to come to him ; vi
It's but crofling oner the fields to More-gate : Will you
beare me companie ? I proteft, it is not to draw you
n,g,i,7cd by Google
52 Euery man in his Humor [ACT i. sc. II
Xtands with your owne conlent, and the condition of
a friend.
Step. Why coufin you Iball command me and 't were
9» twife fo farre as Florence to do you good ; what doe you
thinke I will not go with you ? I protelt.
Lo. iu. Nay, nay, you Iball not proteft.
Step, By God, but / will fir, by your leaue ile prote/t
more to my friend then ile fpeake of at this time.
9! Lo. iu. You fpeake very well fir.
Sup. Nay not fo neither, but I fpeake to feme my
turne.
Lo. iu. Your tume ? why coufin, a gentleman of fo
faire fort as you are, of lo true caiiage, fo fpeciall good
loo parts ; of fo deare and choice eftimation ; one whole
lowef t condition beares the ftampe of a great f pirit ;
nay more, a man lo grac'd, guilded, or rather (to vfe a
more fit Metaphor) tinfoyld by nature, (not that you haue
a leaden conftitution, couze, although perhaps a little
■OS inclining to that temper, & fo the more apt to melt with
pittie, when you fall into the fire of rage) but for your
luftre onely, which reflects as bright to the world as an
old Ale-wiues pewter £^aine a good time ; and will you
now (with nice modeftie) hide fuch reall ornaments as
i» thefe, and Ih£idow their glorie as a Millaners wife doth
her wrought Itomacher, with a fmoakie lawne or a blacke
cipreffe ? Come, come, for fhame doe not wrong the
qualitie of your defert in fo poore a kind : but let the Idea
of what you are, be portraied in your afpect, that men may
lis reade in your lookes ; Here within this place is to be feene,
the moft admirable rare & accompUfht worke of nature:
[14] Coufin what think you of this ?
Step. Marry I do thinke of it, and I will be more
melancholic, and gentlemanlike then I haue beene, I
i« doe enfure you.
n,g,i,7cd by Google
ACT I. SC III] Eitary Man in his Humour 53
into bond, or any plot against the ftate, coulfe.
Step. Sir, that's all one, and't were ; you Ihall com-
mand me, twife fo faire as More-gate to doe you good, ™
in luch a matter. Doe you thinke I would leaue you ?
I proteft
E. Kn. No, no, you Ihall not proteft, couffe.
Step. By my ^cldns, but I will, by your leaue ; He
proteft more to my friend, then He f peake off, at this time. ■•>!
E. Kn. You fpeake very well, coufle.
Step. Nay, not fo neither, you Ihall pardon me : but
I fpeake, to feme my turne. [13]
E. Kn. Your tume, coull ? Doe you know, what
you fay ? A gentleman of your lort, parts, carriage, »"
and eltimation, to talke o' your tiune i' this companie,
and to me, alone, like a tankard-bearer, at a conduit I
Fie. A wight, that (hetherto) his euery Itep hath left
the Itampe of a great foot behind him, as euery word
the lauour of a Itrong Ipirit I and he t this man I fo "f
grac'd, guilded, or (to vie a more fit metaphore) fo tin-
foild by nature, as not ten houfe-wiues pewter (again'
a good time) Ihew's more br^ht to the world then he I
and he (as I laid lalt, lo I fay againe, and Itill fhaJl
fay it) this man ! to conceale Inch reall ornaments as "°
thefe, and fbadow their glorie, as a Millaners wife do's
her wrought ftomacher, with a fmolde lawne, or a black
cyprelfe ? O couXf ! It cannot be aniwer'd, goe not
about it. Drakes old fhip, at Detford. may looner circle
the world againe. Come, wrong not the qualitie of yoiu: "j
defert, with looking downeward, couz ; but hold vp your
head, fo : and let the Idea of what you are, be pourtray'd
i' your face, that men may reade i' your phyfnomie,
{Here, mlhin tkis place, is io be feene the true, rare, and
accomplifh'd monster, or miracle of nature, which is all >3<>
one.) What thinke you of this, coufi ?
Step. Why, I doe thinke of it ; and I will be more
ix'owd, and melancholy, and gentlennan-like, then I haue
beene : He enlinre you.
n,g,i,7cd by Google
54 Eaery man in his Humor [ACT I, SC. Ill
Lo. iu. Why this is well : now if I can but hold vp
this humor in him, as it is begun, Catso for Florence,
match him & Ibe can; Come coufin.
Step. lie follow you. Lo. iu. Follow me ? you muft
IS go before.
Step. Huft I ? nay then I pray you fhew me good
coufin.
Exetmt.
SCENA TERTIA.
Enter Si^ior MatJuo, to him Cob.
Mai. t thinke this be the houfe : what howgh ?
Cob. Who's there ? oh Signior Matheo. God giue
you good morrow fir.
Mat. What ? Gobi how doeft thou good Cobf doelt
3 thou inhabite here Cob}
Cob. I fir, I and my lineage haue Irept a poore houfe
in our dales.
Mat. Thy lineage monfieur Cob} ^rfiat lineage, what
lineage ?
'<• Cob. Why sir, an ancient lineage, and a princely:
mine ancetrie came from a kings loynes, no worfe man ;
and yet no man neither, but Herring the king of fifii, one
of the numarches of the world I affure jniu. I doe fetch
my pedegree and name from the firft i«dde herring that
'i was eaten in Adam, & Eves kitchin : his Cob was my great,
great, mighty great grandfather.
"iiat. Why mightie ? why mightie ?
Cob. Oh its a mightie while agoe fir, and it was a
mightie great Cob.
» Mo^. How knoweft thou that }
Cob. How know I f why his ghoft comes to me euery
n^;ht.
Mat. Oh vnfauohe left : the ghoft of a herring Cob.
n,g,i,7cd by Google
ACT I, sc. rv] Euery Man in his Humom 55
E. Kn, Why, that's refolute mafter Stephen f Now, ■»
if I can but hold bim vp to his height, as it is happily
b^unne, it will doe well for a Xuburbe-humor : we may
bap haue a match with the dtie, and play him for fortie
pound. Come, couff.
Step, I'le follow you. '*»
E. Kn. Follow me ? you muXt goe before.
Step. Kay, an' I muft, I will. Pray you, ihew me,
good coonn.
ACT I. SCENE nil.
M'- Matthew, Cob.
1 Thinke, this be the houfe : what, hough P
Cob. Who's there ? O, mafter Matthew I gi' your
worlhip good morrow.
Mat. What I Cob ! how do'ft thou, good Cob ? do'ft
thou inhabite here. Cob ? 5
Cob. I, 0r, I and my linage ha' kept a poore houfe,
here, in our dayes.
Mat. Thy linage, Monfiew Cob, what linage ? vrbaX
linage?
Cob. Why fir, an ancient linage, and a princely. "
Mine ance'trie came from a Kings belly, no worfe man :
aiid yet no man neither (by your worfhips leaue, I did
lie in that) but Herring the King of fiih (from his belly,
I proceed) one o' the Monarchs o' the world, I allium
you. The firft red herring,' that was broil'd in Adam, •!
and Eve's kitchin, doe I fetch my pedigree from, by the
Harrots bookes. His Cob, was my great-great-mighty- [14]
great Grand-^ther.
Mat. Why mightie ? why mightie ? I pray thee.
143 [Extunt. G The Lane be{ort Cob's House. Enter master
kUthew. G t [Enter Cob. G
n,g,i,7cd by Google
Euery man in his Humor [ACT I, SC III
n,g,i,7cd by Google
ACT I. SC. rV] Euery Man in his Humom 57
Cob. O, it was a mightie wtiile agoe, fir, and a mightie »
great Cob.
Uat. How know'It thou that ?
Cob. How know I ? why, I fmell his ghoft, euer
and anon.
Mat. Smell a ghost ? 6 vnfououry left 1 and the '^
ghoft of a herring Cob I
n,g,i,7cd by Google
58 Euery man in his Humor [ACT I, sc III
Cob. I, why not the gholt of a herring Cob, as well
■J as the ghoft of Ra[hero Baccono, they were both broild
on the coales : you are a CchoUer, vpfolue me that no'w.
Mat. Oh rude ignorance. Cob canft thou (hew me, of
a gStkman, one Signior Bobadilla, where his lodgii^ is ?
[15] Cob. Oh my guelt lir, you meane ?
3D Mai. Thy gueft, alas ? ha, ha.
Cob. Why do you laugh lir, do you not meane signitn-
BobadiUai
Mat. Cob I pray thee aduife thy felfe well : do not
wrong the gentleman, and thy Xelfe too. I dare be fwome
js hee fcomes thy houfe hee. He lodge in fuch a bale
obfcure place as thy houfe ? Tut, I Imow his difpofition
fo well, he would not lie in thy bed if thould'ft giue
it him.
Cob, I will not giue it him. Maffe I thought (Come*
4<> what was in it) we could not get him to bed all night.
Well lir, though he lie not on my bed, he hes on my bench,
and't pleaTe you to go vp fir, you Ihall find him with two
cufhions vnder his head, and his cloake wrapt about him,
as though he had neither won nor loft, and yet I warrant
41 hee ne're caft better in his lite then hee hath done to
night.
Mai. Why was he drunke ?
Cob. Drunk fir ? you heare not me fay fo ; perhaps he
fwallow'd a taueme toksai, or fome fuch deuife fir ; I haue
v> nothing to doe withal : I deale with water and not with
wine. Giue me my tankard there, ho. God be with
you fir, its fixe a clocke : I fhould haue caried two tumes
by this, what ho ? my ftopple come.
n,g,i,7cd by Google
ACT I, SC. IV] Euery Man i» his Httmow 59
Cob. I Ur, with fauour of your worlhips nofe, M'
Mathew, why not the ghoft of a herrii^-cob, as well
as the ghoft of rafher-bacon ?
Mat. Roger Bacon, thou wouldft lay ? 3«
Cob. I lay rafher-bacon. They were both broyl'd 0'
the coles ? and a man may fmell broyld-meate, I hope ?
you are a fcholler, vpXolue me that, now.
Mat. O raw ignorance I Cob, canft thou fhew me of a
gentleman, one Captayne Bobadill, where his lodging is ? i:
Cob. O, my gueXt, fir I you meane.
Mat. Thy gueft ! Alas I ha, ha.
Cob. Why doe you laugh, Xir ? Doe you not meane
Captayne Bobadill ?
Mat. Cob, 'pray thee, aduife thy felfe well : doe not 4<
wrong the gentleman, and thy felfe too. t dare bee
Iwome, hee fcoraes thy houfe : hee 1 He lodge in fuch
a bafe, obfciire place, as thy houfe I Tut, I know his
difpofition fo well, he would not lye in thy bed, if tho'
uldft gj' it him. 4!
Cob-. I will not giue it him, though, fir. Maffe, I
thought fomenrfiat was in't, we could not get him to
bed, all night \ Well, fir, though he lye not o' my bed,
he hes o' my bench : an't pleafe you to goe vp, Br, you
OiaO find him with two cufhions vnder his head, and v
his cloke wrapt about him, as though he had neither
wun nor loft, and yet (I warrant) he ne're caft better
in his hfe, then he has done, to night.
Mat. Why ? was he drunke ?
Cob. Drunke, fir ? you heare not me fay fo. Per- s.
baps, hee swallow'd a taueme-token, or fome fuch de-
uce, fir: I haue nothing to doe withall. X deale with
water.andnotwithwine. Gi'memy tankard there.hough.
God b'w' you, fir. It's fixe a docke : I fhould ha' carried
two tumes, by this. What hough ? my ftopple ? come. «<
37 ha, ha] ha, ba, ha G, H 60 lEnttt Tib wUh a waitf'
Umkari. G
n,g,i,7cd by Google
6o Euoy man in Ids Humor [ACT I, SC. ni
Mat. Lie in a waterbearers house, a gentleman of his
K note ? well ile tell him my mind. Exit.
Cob. What Tib, Ihew this gentleman vp to Signior
Bobadilla: oh and my house were the Brazen head now,
faith it would eene crie moe fooles yet : you Ihould haue
lome now, would take him to be a gentleman at the
»e leaft ; alas God belpe the fimple, his father's an honeft
man, a good fifhmonger, and fo forth: and now doth
he creep and wriggle into acquaintance with all the braue
gallants about the towne, fuch as my gueft is, (oh my
gueft is a fine man) and they flout him inuindblie. He
es vfeth euery day to a Maxchats houfe {where I feme
water) one ti.Thorellos; and here's the ieft, he is in loue
with my mafters filter, and cals her miftres : and there
he fits a whole aftemoone fometimes, reading of thefe
fame abhominable, vile, (a poxe on them, I cannot abide
[16] them) rafcally verfes, Poetrie, poetrie, and fpeaking of
Enterludes, t'wiU make a man burft to heare him : and
the wenches, they doe lo geere and tihe at him ; well,
fhould they do as much to me, lid forfweare them all,
by the Ufe of Pharaoh, there's an oath : how many water-
's bearers fhall you heare fweare fuch an oath ? oh I haue
a gueft (he teacheth me) he doth fweare the beft of any
man chriftned : By Phoebus, By the hfe of Pharaoh, By
the body of me. As I am gentleman, and a foldier ; fuch
daintie oathes ; & withall he doth take this fame filthie
*• roaguilh Tabacco the fineft, and cleanheft ; it wold do
a man good to see the fume come forth at his noftrils :
well, he owes me fortie Ihillings (my wife lent him out of
her purfe ; by fixpence a time) befides his lodging ; /
would I had it : / fhall haue it he faith next Action.
'* HeUer fkeUer, hang forrow, care will kiU a cat, vptailes
all, and a poxe on the hangman.
ExU.
n,g,i,7cd by Google
ACT I, sciv] Entry Mmt in his Hmtum 6l
Mat. Ljre in a ivater-bearers houfe t A gentleman
of his haiiings 1 Well, lie tell him my mind.
Cob. What T3, Ihew this gentleman vp to the Cap-
tayne. O, an' my houfe were the Brajen-head now I faith,
it would eene fpeake, Mo fooles yet. You fhould ha* «i
[ome now would take this AT. Matthew to be a gentle-
man, at the lealt. His father's an honelt man, a worlhip-
fuD fiXhmoDger, and Xo forth ; and now dos he creepe,
and wri^le into acquaintance with all the braue gallants
about the towne, fuch as my gueft is : (d, my gueft is to
a £ne man) and they flout him invincibly. Hee vfeth
euery day to a Merchants houfe (where I ferue water) [15]
one matter Kitely's, i' the old lewry ; and here's the
ieft, he is in loue with my mafters lifter, (miftris Brid*
get) and calls her miftris : and there hee will lit you »
a whole after-noone fome-times, reading o' thefe fkme
aboniinable, vile, (a poxe on 'hem, I cannot abide them)
rafcally verfes, poyetne, poyetrie, and fpeaking of etUer-
ludes, 'twill make a man burft to heare him. And the
wenches, they doe fo geere, and ti-he at him — well, *a
fhould they do fo much to me, lid for-fweare them all,
by the foot of Pharaoh. There's an oath ! How many
water-bearers fhall you heare fweare fuch an oath ? 5,
I haue a gueft (he teaches me) he dos fweare the legibleft,
of any man chriftned: By S*. George, the foot of**
Pharaoh, the body of me, as I am gentleman, and a
fouldier : fuch daintie oathes 1 and withall, he dos take
this fame filthy roguifh tabacco, the fineft, and cleanlieft 1
it would doe a man good to fee the fume come forth
at's tonnellsl Well, he owes mee fortie fhillings (my»°
wife lent him out of her purfe, by fixe-pence a time)
befides his lodging : I would I bad it. I fhall ha' it, he
faies, the next Action. Heiier skelter, hang forrow, care'U
kill a cat, vp>tailes all, and a loufe for the hang-man.
63 Capta7n«. [Exit Tib wilk master Mathtw. G 94 [Exit. G
n,g,i,7cd by Google
"62 ' Euery man in his Humor [ACT I, SC, III
BobadiUa difcouers himfelfe : on a bench ; to him Tib.
Bob. Hoftefle, holtefle.
Tib. What lay you fir ?
Boh. A cup of yom Imall beere fweet hofteffe.
9> Tib. Sir, ther's a gentleman below would fpeake
with you.
Bob. A gentleman, (Gods lo) / am not within.
Tib. My hufband told him you were fir.
Bob. What ha plague ? what meant he ?
93 tlLat. Signior BobadiUa. Witheo within.
Bob. Who's there ? (take away the bafon good hof-
teffe) come vp fir.
Tib. He would defire you to come vp fir ; you come
into a cleanly houfe here.
™ Ma/. God saue you fir, God saue you. Enter tILatheo.
Bob. Signior Matheo, is't youHr ? please you fit downe.
Mo/. I thanke you good Signior, you may fee, I am
fomewhat audacious.
Bob. Not fo lignior, I was requefted to fupper yefter-
"os night by a fort of galleints where you were wifht for, and
drunke to I affure you.
[17] lAat. Vouchfafe me by whom good Signior.
Bob. Marrie by Signior Pro/pefo, and others, why
hofteffe, a ftoole here for this gentleman.
"" tiai. No halte fir, it is very well.
Bob. Bodie of me, it was fo late ere we parted laft
night, / can fcarfe open mine eyes yet ; I was but new
rifen as you came : how paffes the day abroad fir ? you
can tell.
"i iiai. Faith fome halfe houre to feueai : now tnift me
you haue an exceeding fine lodging here, very neat, and
priuate.
n,g,i,7cd by Google
ACT I, SC V] Euery Man in fas Humour 63
ACT I. SCENE V.
BoBADiLL, Tib, Matthew.
,^ Sabad.£
OOItefXe, hofteWe. «^^ir
'■^ Tib. What fay you, fir ? ***^'
Bob. a cup o' thy fmall beere, fweet hofteUe.
Tib. Sir, there's a gentleman, below, would fpealce
with you. s
Bob. a gentleman t 'ods fo, I am not within.
Tib. My hulband told him you were, fir.
Bob. What a plague what meant he ?
Mat. Captaine BoBADiix?
Bob. Who's there ? (take away the balon, good »
holtelfe) come vp, lir.
Tib. He would deflre you to come vp, fir. You
come into a cleanly houTe, here.
Hat. 'Saue you, fir. 'Saue you, Captayne.
Bob. Gentle mafter Matthew ! Is it you, fir ? ■»
HeaJe you fit downe.
Mak. Thanke you, good Captaine, you may fee, I am
fome>«^at audacious.
Bob. Not fo, fir. I was requeXted to fupper, laft
night, by a fort of gallants, where you were wifh'd for, »
and dnmke to, I affure you.
Mat. VouchXafe me, by whom, good Captaine.
Bob. Mary, by yong Well-bred, and others ; Why,
bofteffe, a Itoole here, for this gentleman.
Mat. No hafte, fir, 'tis very well. 's
Bob. Body of me I It was fo late ere we parted laft
night , I can f carle open my eyes, yet ; I was but new rifen, as
you came : how paffes the day abroad, fir ? you can tell.
Mat. Faitb,fomehalfehouretoI'euen:nowtruftmee,you t*^]
haue an exceeding fine lodging here, very neat, and priuate I i"
A Room in Cob's House. Bobadill discovered lying on a bench, G
t [Enter Tib. G 9 Mat.] Mat. [below G 13 [Enter Mathew.
17 Mar.] Mat. 1640+
n,g,i,7cd by Google
64 Euety man in bis Homor [ACT I. SC. ill
Bob. I fir, fit downe I pray you : Signior Matheo (in
any cafe) polfeffe no gentlemen of your acquaintance
iKi with notice of my lodging.
Mai. Who I fir? no.
Bob. Not that I neede to caie ^o know it, but in
r^;ard I would not be (o popular and generall, as fome be.
Mai. True Signior, I conceiue you.
»s 'Bob. For do you fee fir, by the hart of my felfe
(except it be to fome peculiar and choice fpirits, to whom
I am extraordinarily ingag'd, as your felfe, or fo) I would
not extend thus farre.
'ULai. O Lord fir I refolue fo.
130 Bob. What new booke haue you there ? w4iat ? Go
by Hieronimo.
"i&ai. I, did you euer fee it acted ? is't not well pend ?
Bob. Well pend : I would faine fee all the Poets of
our time pen fuch another play as that was ; theyl prate
Hi and fwa^er, and keepe a ftirre of arte and deuifes, when
(by Gods fo) they are the moft fhallow pittifull fellowes
that hue vpon the face of the earth againe,
Ml^^ Indeede, here axe a number of fine fpeeches in
this booke : Oh eyes, no eyes but fountaines fraught with
i4« teares; there's a conceit : Fountaines fraught with teares.
Oh life, no life, but liuely forme of death : is't not excellent ?
Oh world, no world, but majfe of puHique wrongs ; O Gods
mee : confufde and fild with murther and mifdeeds.
Is't not fimply the beft that euer you heard ?
>M Ha, how do you like it ?
Bob. Tis good.
n,g,i,7cd by Google
ACT I, SC V] Euery Matt in JUs Humour 65
Bob. I, lir : lit downe, I pray you. Mafter Hatthew
(id any cale) polfeffe no gentlemen of our acquaintance,
with notice of my lodging.
Mat. Who ? I lir ? no.
Bob. Not that I need to care who know it, for the 3s
Cabbin is conuenient, but in r^ard I would not be too
popular, and generally vifited, as lome are.
Mat. True, Captaine, I conceiue you.
Bob. For, doe you lee, fir, by the heart of valour,
in me, (except it be to lome peculiar and choice fpirits, 40
to whom I am extraordinarily ingag'd, as your leUe, or
fo) I could not extend thus farre.
Mat. O Lord, lir, I relolue lo.
Bob. I confelfe, I loue a cleanely and quiet priuacy,
aboue all the timiult, and roare of fortune. What new 45
booke ha' you there ? What ! Goe by, Hieronymo 1
Mat. I, did you euer lee it acted ? is't not well
pend?
Bob. Well pend ? I would faine lee all the Poets,
of thele times, pen Inch another play as that was I they'll 50
prate and fwagger, and keepe a Itir of arte and deuices,
when (as I am a gentleman) reade "hem, they are the
molt fhallow, pittifull, barren fellowes, that liue vpon
the face of the earth, againe 1
Mat. Indeed, here are a number of fine fpeeches in a
this booke ! O eyes, no eyes, but fountaynes fraught with
teares I There's a conceit ! fountaines fraught with teares [
0 life, no life, but liuely forme of death \ Another I O
world, no world, but maffe of puhlique wrongs I A third 1
Confus'd and fU'd with murder, and mifdeeds t A fourth 1 6a
O, ^e Mufes I Is't not excellent ? Is't not fimply the
belt that euer you heard, Captayne ? Ha 7 How doe
you like it ?
Bob. 'Tis good.
n,g,i,7cd by Google
66 Euery man in his Humor [ACT I, sc. Ill
[IS] l&at. To thee the pttre/t obiect to my fence,
The moft refined effence heauen covers.
Send I thefe lines, wherein I do commence
^y The happie ftate of true deferuing loners.
If they proue rough, vnpoUsh't, harfh and rude,
Hafte made that wafte; thus mildly I cortclude.
Bob. Nay proceed, proceed, fldiere's this ? where's
this?
■sf Mat. This lir, a toy of mine cwne in my nonage :
but when win you come and fee my ftudie ? good faith
I can fhew you fome verie good thinges I haue done of
late : that boote becomes yoiu: legge palling well £r, me
thinks.
ite Bob. So, fo, it's a fafhion gentlemen vie.
}iai. Maffe lir, and now you Ipeake of the fafhion,
Signior Profperos elder brother and I are fallen out ex-
ceedingly : this other day I hapned to enter into fome
difcourfe of a hanger, which I affure you, both for
>«9 fafhion & workmanfhip was moft beautifull and gentle-
manlike ; yet hee condemned it for the moft pide and
ridiculous that euer he faw.
Bob. Signior Giuliano, was it not ? the elda- brother ?
MtU. I fir, he.
i?a Bob. Hang himRooke he ? whyhehasnomoreiudge-
ment then a malt horfe. By S. George, I bold him the
moft peremptorie abfurd downe (one a them) in Chriften-
dome: / proteft to you (as I am a gentleman and a
foldier) X ne're talk't with the like of him : he ha's not (o
173 much as a good word in his beUie, all iron, iron, a good
commoditie for a fmith to make hobnailes on.
Mat. I, and he thinkes to cairie it away with his
manhood ftill where he comes : he brags he will giue mee
the baftinado, as I heare.
n,g,i,7cd by Google
ACT I, SC V] Euery Man in his Humour 67
Mat. To thee, the pureft otnect to my lenle, «>
The molt refined ef fence heauen covers.
Send I thefe lines, wherein I doe commence
The happy ftaie of turtle-billing loners.
If they proue rough, vn-poHjh't, harfh, and rude.
Haft made the waft. Thus, mildly, I conclude. ?'
^"i^ Bob. Nay, proceed, proceed. Where's this ?
tmna^ Mat. Tfais, lii ? a toy o* mine owne, in my nonage :
•^j^ the infancy of my Mufes I But, when will you come
and fee my ftudie ? good faith, I can fhew jrau fome
very good things, I haue done of late — ^That boot becomes is
your legge, paffing well, Captayne, me thinkesi
Bob. So, fo, It's the faXhion. gentlemen now vfe.
Mat. Troth, Captayne, an' now you fpeake o' the
fafhion, maXter Well-bred's elder brother, and I, are
fall'n out exceedingly : this other day, I hapned to enter 1=
into fome difcourfe of a hanger, which I affure you,
both for fafhion, and worke-man-fhip, was moft peremfH
tory-beautifuU, and gentleman-like I Yet, he condemn'd, [17]
and ciy'd it downe, for the moft p3red, and ridiculous
that euer he faw. s$
Bob. Squire Downe-wght ? the halfe-brother I was't
not?
Mat. I fir, he.
Bob. Hang him, rooke, hel why, he has no more
judgement then a malt-horfe. By S. George, I wonder 90
youl'd loofe a thought vpon fudi an animal : the moft
peremptory abfurd downe of chriftettdome, this day, he
is holden. I proteft to you, as I am a gentleman, and
a fouldier, I ne're chang'd wordes, with his like. By his
difcourfe, he fhould eate nothing but hay. He wasw
borne for the manger, pannier, or pack-faddle 1 He ha's
not fo much as a good phrafe in his belly, but all old
iron, and ruftie piouerbes I a good conunoditie for fome
fmith, to make hob-nailes of.
Mat. I, and he thinks to carry it away with his man- i<»
hood ftill, viiere he comes. He brags he will gi' me the
balUnado. as I heare.
n,g,i,7cd by Google
68 Euery man in his Humor [ACT I. sc ill
'»• Bob. How, the baftinado ? how came he by that word
trow ?
Mat. Nay indeed he faid cudgiJI me ; I tearmd it fo
for the more grace.
Bob. That may bee, for I was Xure it was none of his
'■5 word : but when, when faid he [0 ?
Mat. Faith yefto-day they lay, a young gallant a
P9] friend of mine told me lo.
Bob. By the life of Pharaoh, and't were my cafe nowe,
I fhould fend him a challenge prefently : the baftinado ?
1911 come hither, you fhall challenge him ; ile fhew you a
tricke or two, you fhall kill him at pleafure, the firft
ftockado if you will, by this ayre.
Mat. Indeed you haue abfolute knowledge in the
miftery, I haue heard fir.
•9s Boh. Of whom ? of whom I pray ?
Md/. Faith I haue heard it fpoken of diners, that you
haue verie rare fkiU fir.
Bob. By heauen, no, not I, no fkill in the earth : fome
bnall fcience, know my time, diftance, or fo, I haue pro-
>« feft it more for noblemen and gentlemens u(e, then mine
owne practife I affure you. Hofteffe, lend vs another
bedftaffe here quickly : looke you fir, exalt not your
point aboue this ftate at any hand, and let your poyneard
maintaine your defence thus: giue it the genUeman.
«>! So fir, come on, oh twine your bodie more about,
that you may come to a more fweet comely gentleman-
like guard : fo indifferent. Hollow your bodie more fir,
thus : now ftand faft 00 your left leg, note your diftance,
keep yoiu" due proportion of time : oh you diforder your
i» point moft vilely.
Mat. How is the bearing of it now fir ?
n,g,i,7cd by Google
ACT I, sc V] Every Man in his Humour 69
Bob. How t He the ba/tinado I how came he by that
word, trow ?
Mat. Nay, indeed, he laid cudgell me ; I term'd it to, ■<
for my more grace.
Bob. That may bee : For I was lure, it was none of
his word. But, when ? when laid he fo ?
Uat. Faith, yefterday, they fay : a young gallant, a
friend of mine told me fo. ■■
Bob. By the foot of Phabaoh, and't were my cafe now,
I Ihould fend him a chartd, prefently. The baftinado !
A moft proper, and fufficient defendance, warranted by
the great Casanza. Come hiUier. You fhall chartel
him. 111 fhew you a trick, or two, you fhall kill him "
with, at pleafure : the firft ftoccata. if you will, by this ayre.
Mat. Indeed, you haue abfolute knowledge i' the
myXterie, I haue heard, fir.
Bob. Of whom ? Of whom ha' you heard it, I be-
feech you ? ■■
Mat. Troth, I haue heard it fpoken of diners, that you
haue very rare, and vn-in-one-breath-vtter-able skill, fir.
Bob. By heauen, no, not I ; no skill i' the earth :
fome fmall rudiments i' the Xdence, as to know my time,
diftance, or fo. I haue profeft it more for noblemen, "
and gentlemens vfe, then mine owne practife, I affure
you. Hofteffe, accommodate vs with another bed-ftaffe
here, quickly : Lend vs another bed-ftaffe. The woman
do's not vnderftand the wordes of Action. Locke you,
fir. Exalt not your point aboue this ftate, at any hand, >:
and let your poynard maintayne your defence, thus:
(giue it the gentleman, and leaue vs) fo, fir. Come on :
O, twine your body more about, that you may fall to a
more fweet comely gentleman-like guard. So, indifferent.
Hollow your body more fir, thus. Now, ftand faft o' your i
left leg, note your diftance, keepe your due proportion of
time Oh, you diforder your point, moft irregularly I
Mat. How is the bearing of it, now, Cr ?
lafi gentUmena] gentlemen Ga 133 va \E»it Tib. G
n,g,i,7cd by Google
70 Euery man in his Hnmor [ACT I, sc. Ill
Bob. Oh out of measure ill, a well experienced man
would palTe vpon you at pleafure.
Mo^. How meane you paife vpon me ?
"i Bob. Why thus lir ? make a thruft at me ; come in
vpon my time; controll jrour point, and make a full
carriere at the bodie : the belt practif 'd gentlemen of the
time terme it the pal/ado, a molt delperate thnilt, be-
leeue it.
•» Mat. WeU, come fir.
Bob. Why you do not manage your weapons with
that &cilitie and grace that you Ihould doe, I haue no
fpirit to play with you, your dearth of iudgement makes
you feeme tedious.
—i Mat. But one veny fir.
20] Bob. Fie veney, molt grolfe denomination, as euer I
heard : oh the stockada while you hue Signior, note that.
Come put on your cloake, and weele go to lome priuate
place where you are acquainted, some taueme or fo, &
'SO weele lend for one of thefe fencers, where be fhall breath
you at my direction, and then ile teach you that tricke,
you Ihall kill him with it at the firit if you pleafe : why
He leame you by the true iudgement of the eye, hand
and foot, to controll any mans point in the world ; Should
'35 your aduerfary confront you with a piltoll, t'were nothing,
you Ihould (by the fame rule) controll the bullet, most
certaine by Phoebus : vnles it were haile-lhot : what mony
haue you about you fir ?
Mat. Faith I haue not paft two fhillings, or fo.
'-to Bob. Tis fomewhat with the leaft, but come, when
we haue done, weele call vp Signior Proipero; perhaps
we Ihal meet with Coridon his brother there. Exeunt.
337 Itoetada] ftoehada B, W* 237 Phcebna] PAobtM B, W*
n,g,i,7cd by Google
ACT 1. SC V] Euery Man in his Bumour yi
Bob. O, oat of meafure ill 1 A weU-experi^c'd hand
would paUe vpcm jrou, at plealure. 'v
Mat. How meane you, lir, paife vpon me ? [igi
Bob. Why, thtis fir (make a thnilt at me) come in,
vpon the anfwere, control! your point, and make a full
caireere, at the body. The belt-practif'd gallants of the
time, name it the paffada : a molt defperate thruft, be- ms
leeue it I
Mat. Well, come, fir.
Bob. Why, you doe not manage your weapon with any
fadUtie, or grace to inuite mee : I haue no fpirit to play
with you. Your dearth of iudgement renders you tedious. ■ s<>
Mat. But one venue, fir.
Bob. Venue\ Fie. Moft grolfe denomination, as
euer I heard. O, the Itoccaia, while you hue, fir. Note
that. Come, pat on your cloke, and wee'll goe to fome
priuate place, wliere you are acqiiainted, fome taueme, isi
or fo — and haue a bit — De fend for one of thefe Fencers,
and hee Ihall breath you, by my direction ; and, then,
I will teach you your tricke. You fball kill him with it,
at the firft, if you pleafe. Why, I will leame you, by
the true iudgement of the eye, hand, and foot, to con- i«o
troD any enemies point i' the world. Should your ad-
nerfarie confront yon with a piftoU, 'twere nothing, by
this band, you Jhould, by the lame rule, controU his
bullet, in a line : except it were hayle-Ihot, and fpred.
What money ha' you about you, M'. Matthew ? 165
Hat. Faith, I ha' not paft a two fhillings, or lo.
Bob. Tis fomewhat with the leaft : but, come. We
win haue a bunch of redifli, and fait, to taXt our wine ;
and a pipe of tahacco, to clofe the orifice of the Itomach :
and then, wee'll call vpon yong Wel-bred. Perhaps its
wee fhall meet the Coridon, his brother, there : and put
him to the queftion.
143 me [master Malhtw puthtt at Bobadili. G
n,g,i,7cd by Google
72 Euery man in his Humor [ACT 1, SC. IV
SCENA QVARTA.
Enter Thordio, Giuliano, Pifo.
Tho. PiXo, come hither : there lies a note within vpoD
my deske; here take my key; it's no matter neither,
Where's the boy?
Pifo. Within fir, in the w^lreho^lfe.
s Thor. Let him tell ouer that Spanifh gold, and weigh
it, and do yon lee the dehuerie of thofe wares to Signior
Bentiuole: ile be there my Xelfe at the receipt of the
money anon.
Pilo. Verie good fir. Exit Pifo.
■» Tho. Brother, did you fee that fame fellow there ?
Giu. I, what of him ?
Tiw. He is e'ene the honeXtelt faithfull feruant, that
is this day in Florence; (I (peake a proud word now) and
one that I durft truft my life into his hands, I haue fo
's Itrong opinion of his loue, if need were.
Giu. God fend me neuer fuch need: but you faid you
had fomewhat to tell me, what is't ?
Tho. Faith brother, I am loath to vtter it,
[21] As fearing to abuXe yova patience,
*• But that I know your judgement more direct.
Able to fway the neareft of affection.
n,g,i,7cd by Google
ACT II, sc. I] Euery Man in his Hwnom 73
ACT II. SCENE I.
Kttely, Cash, Downe-right.
T^HoMAS, Come hither.
There lyes a note, within vpon my deske.
Here, take my key : It is no matter, neither.
Where is the Boy ? Cas. Within, fir, i' the ware-houXe.
Kit. Let htm teU oner, (traight, that Spanifh gold, t
And we^h it, with th' pieces of eight. Doe you
See the deliuery of thole liluer ftuffes.
To M'. LvcAR. TeU him, if he will.
He Ihall ha' the grogran's, at the rate I told him.
And I will meet him, on the Exchange, anon. 1°
Cas. Good, fir.
Kit. Doe you fee that fellow, brother Downe-right ?
Dow. I, what of him ?
Kit. He is a iewell, brother.
I tooke him of a child, vp, at my dore, [19] n
And chriftned him, gaue him mine owne name, Thomas,
Since bred him at the Hofpitall; where prouing
A toward impe, I call'd him home, and taught him
So much, as I hane made him my Caihier,
And giu'n him, who had none, a fumame. Cash : »
And find him, in his place Xo full of faith.
That, I durft truft my life into tiis hands.
Dow. So, would not I in any baltards, brother.
As, it is like, he is : although I knew
My Xelfe his father. But you faid yo' had lomewbat *,
To tell me, gentle brother, what is't ? what is't ?
Kit. Faith, I am very loath, to vtter it.
As fearing, it may hurt your patience :
But, that I know, your iudgement is of ftrength,
Againit the neereneIXe of affection jo
The Old Jewry, A Hall in KiUly's Hovse. G ri [Exit. G
n,g,i,7cd by Google
74 Eoery man in his Humor [ACT I, SC. IV
Giu. C(Mne, come, what needs this circumftance ?
Tho. I will not fay what honor I afcribe
Vnto your friendlhip, nor in what deare ftate
•s / hold your loue ; let my continued zeale.
The conrtant and religious regard.
That / haue euer caried to your name.
My cariage with your filter, all conteft.
How much I ftand affected to your hotife.
3» Giu. You are too tedious, come to the matter, come
to the matter.
Tho. Then (without further ceremony) thus.
My brother Prolpero (I know not how)
Of late is much declin'd from what he was,
» And greatly alterd in his difpofition.
When he came flrft to lodge here in my houfe,
Ne're tnift me, if / was not proud of him :
Me thought he bare himfelfe with fuch obferuance.
So true election and f o faire a forme :
*• And (what was chiefe) it fhewd not borrowed in him,
But all he did became him as his owne.
And feemd as perfect, proper, and innate,
Vnto the mind, as coUor to the blood.
But now, his courfe is fo irregular,
45 So loofe affected, and depriu'd of grace,
And he himfelfe withall fo farre falne off
From his firft place, that fcarfe no note remaines,
To tell mens increments where he lately ftood;
Hee's growne a (tranger to all due refpect,
s' ForgetfuU of his friends, and not content
To ftale himfelfe in all fodeties.
He makes my houfe as common as a Mart,
A Theater, a publike receptacle
n,g,i,7cd by Google
ACT II. sc. I] Every Man in his Humow 75
Dow. What need this drcuniftance ? jway you be
direct.
Kit. I will not Tay, how much I doe afcribe
Vnto your friendfliip ; nor, in what regard
I hold your loue : but, let my paft behauiour, 3:
And vfage of your lifter, but confirme
How well I 'aue beene affected to your
Dow. You are too tedious, come to the matter, the
matter.
Kit. Then (without further ceremonie) thus. «
My brother Well-bred, fir, (I know not how)
Of late, is much declin'd in what he was.
And greatly 2dter'd in his difpofition.
When he came firft to lodge here in my houfe,
Ne're truft me, if I were not proud of him : m
Me thought he bare himfelfe in fuch a fafhion.
So full of man, and Iweetneffe in his carriage.
And (what was chiefe) it fhew'd not borrowed in him.
But aU he did, became him as his owne.
And feem'd as perfect, proper, and poffeft y
As breath, with life, or colour, with the bloud.
But, now, his courfe is fo irregular,
So loofe, affected, and depriu'd of grace.
And he himfelfe withall fo farre falne ofi
From that firit jdace, as fcarfe no note remaines, a
To tell mens iudgements where he lately ftood.
Hee's growne a Itranger to all due refpect,
Forgetfull of his friends, and not content
To Itale himfelfe in all focieties.
He makes my houfe here common, as a Mart, «<
A Theater, a publike receptacle
3« bot] both G
n,g,i,7cd by Google
76 Euery man in bn Humor [ACT I, SC IV
For giddie hmnor, and difeafed riot,
'22] And there, (as in a Taueme, or a ftewes.)
He, and his wilde affodates, fpend their hoores.
In repetition of laTdnious iests,
Sweare, leape, and dance, and reuell night hy night,
ControU my feniants : and indeed what not ?
*» Giu. Faith I know not what I Ihould lay to him : lo
God fane mee, I am eene at my wits end, I haue tolde
him inough, one would thinke, if that would ierve : well,
he knowes what to truXt to for me : let him fpend, and
Xpeod, and domineere till his hart ake : & he get a peny
*s more of me, lie giue him this eare.
Tho. Nay good Brother haue patience.
Giu. S'blood, he mads me, I could eate my very flelh
for anger : I marie you will not tell him of it, how he
difquiets your houle.
7° Tho. O there are diuers realons to diffwade me.
But would your lelfe vouchfafe to trauaile in it,
(Thoi^h but with plaine, and eafie circumftance,)
It would, both come much better to his fence.
And fauor leffe of griefe and discontent.
n You are his elder brother, and that title
Confirmes and warrants your authoritie :
Which (seconded by your afpect) will breed
A kinde of duty in him, and regard.
Whereas, if I Ihould intimate the lealt,
»• It would bat adde contempt, to his neglect,
n,g,i,7cd by Google
ACT 11, sc I] Euery Mm in his Humour 77
For giddie humour, and difeaTed riot; \^]
And here (as in a tau^ne, or a ftewes)
He, and fais wOd affodates, (pend their houres.
In repetition of lafduious ielts, <i
Sweare, leape, drinke, dance, and reuell night by ni^t.
Control! my leruants : and indeed what not ?
Dow. 'Sdeynes, I know not what I Jhould fay to
him, i' the whole world I He values me, at a crackt
three-ferthings, for ought I fee : It will neuer out o' the »»
flefh that's Ih^ i' the bone t I haue told him inough,
one would thinke, if that would feme : But, counfell to
him, is as good, as a fhoulder of mutton to a ficke horfe.
Well! he knowes what to tnift to, for George. I^t
him fpend, and fpend, and domineere, till his heart ake ; 7s
an' hee thinke to bee reheu'd by me, when he is got
into one o' your dtie pounds, the Coimters, he has the
wrong fow by the eare, ifaith : and daps his difh at the
wrong mans dore. He lay my hand o' my halfe-peny,
e're I part with 't, to fetch him out, lie affure him. *•
Kit. Nay, good brother, let it not trouble you, thus.
Dow. 'Sdeath, he mads me, I could eate my very
fpur-lethers, for anger I But, why are you fo tame ?
Why doe not you fpeake to him, and tdl him how he
difqtiiets your hotife ? «s
Kit. O, there are diuers reafons to diffwade, brother.
But, would your felfe voudifafe to trauaile in it,
{Though but with plaine, and eafie circumftance)
It would, both come much better to his fenfe.
And fauour leffe of ftomack, or of paffion. «o
You are his elder brother, and that title
Both giues, and warrants you authoritie ;
Which {by yoiu: prefence feconded) mult breed
A Mnde of dutie in him, and regard :
Whereas, if I fhould intimate the leaft, ,j
It would but adde contempt, to his neglect,
Sobim.lyouN 86 brother.] me G gi you] your 1640+ «xc, Ga
n,g,i,7cd by Google
78 Euery man in his Humor [ACT I, SC. IV
Heape worle on ill, reare a huge jale of hate.
That in the building, would come tottring downe,
And in her mines, bury all our loue.
Nay more then this brother; {if I IhouM Ipeake)
's He would be ready in the heate of paffion.
To fill the cares of his familiars,
With oft reporting to them, what dilgrace
And groffe difparagement, I had propof'd him.
And then would they ftraight back him, in opinion,
9" Make Xome loofe comment vpon euery word,
And out of their diffracted phantafies ;
Contriue fome flander, that fhould dweU with me.
[23] And what would that be thinke you ? mary this.
They would giue out, (becaule my wife is tayn,
9s My felfe but lately married, and my lifter
Heere foiouming a virgin in my houfe)
That I were ieaJous : nay, as lure as death.
Thus they would fay: and how that I had wrongd
My brother purpofely, thereby to finde
"•An apt pretext to banifh them my houfe.
Giu. Maffe pertiaps fo.
Tho. Brother they would beleeue it : fo fhould I
(XJke one of thefe penurious quack-flaluers,)
But trie experiments vpon my felfe,
"s Open the gates vnto mine owne di%race,
Lend bare-ribd enuie, oportunitie.
To Itab my reputation, and good name.
n,g,i,7cd by Google
ACTII, SC. T] Euery Mm in his Humour 79
Heape worfe on ill, make vp a pile of hatred
That, in the rearing, would come tottring downe.
And, in the mine, burie all our loue.
Nay, more then this, brother, if I fhould fpeake 100
He would be readie from his heate of biunOT,
And ouer-flowing of the vapour, in him,
To blow the eares of his ^miliars.
With the falle breath, of telling, what dilgraces.
And low difparadgments, I had put vpon him. »i
Whilft they, fir, to relieue him, in the fable.
Make their loofe comments, vpon euery word,
Gefture, or looke, I vfe ; mocke me all ouer.
From my flat cap, vnto my fhining fhooes:
And, out of their impetuous rioting phant'Iies, ■!<•
Beget fome Dander, that Ihall dwell with me. [21]
And what would that be, thinke you ? mary, this.
They woiJd giue out (becaule my wife is faire.
My lelfe but lately married, and my filter
Here foiouming a virgin in my houfe) ms
That I were iealoust nay, as fure as death.
That they would lay. And how that I had quarreli'd
My brother purpofely, thereby to finde
And apt pretext, to banifh them my houfe.
Dow. Maffe perhaps fo : They'are like inough to im
doe it.
Kit, Brother, they would, beleeue it : lo fhould I
(Like one of thefe penurious quack-faluers)
But fet the bills vp, to mine owne di^race.
And trie experiments vpon my felfe : n-,
Lend Xcome and enuie, oportunitie.
To ftab my reputation, and good name
n,g,i,7cd by Google
8o Euery man in bis Humor [ACT I, SC IV
Enter Boba. and Matheo.
Mat. I will fpeake to him.
Bob. Speake to him ? avray, by the life of Pharoah
>» yoa fhall not, you fhall not do him that grace : the time
of daye to you Gentleman : is Signior Pro/pero Itining ?
Giu. How then ? what fhould he doe ?
Bob. Signior ThoreUo, is he within fir ?
Tho. He came not to his lodging to night £ir, I affure
"i yoa.
Giu. Why do you heare ? you.
Bob. This gentleman hath latiffied me. He talke to
no Scauenger,
Giu. How Scauenger ? ftay fir ftay. Exeunt.
'" Tho. Nay Brother Giuliano.
Giif. S'blood ftand you away, and you loue me.
Tho. You fhall not follow him now / pray you.
Good faith you fhall not.
Giu. Ha ? Scauenger ? well goe to , I fay little, but,
»s by this good day (God forgiue me I fhould fweare) if I
put it vp fo, fay I am the rankeft — that euer pift. S'blood
and I fwallowe this, lie neere drawe my fworde in the
fight of man againe while I line ; lie fit in a Bame with
Madge-owlet firft, Scauenger ? 'Hart and He goe neere
[24] to fill that huge timbrell flop of yours with fomewhat and
I haue good lucke, your Garagantua breech cannot carry
it away fo,
Tho. Oh do not fret your felfe thus, neuer thinke on't.
Giu. Thefe are my brothers conforts thefe, thefe are
>3s bis Cumrades, bis waking mates ; hees a gallant, a Cau-
diero too, right hangman cut. God let me not liue, and
I could not finde in my hart to fwinge the whole nest of
n,g,i,7cd by Google
ACT II, SC. II] Euery Man in kis Humour 8l
ACT U. SCENE 11.
Matthew, Bobadil, Downe-right,
KiTELY.
I Will Ipeake to him
Bob. Speake to him ? away, by the foot of Pha-
raoh, you shall not, you Ihall not doe him that grace.
The time of day, to you, Gentleman o' the houfe. Is
M'. Well-bred ftirring ? s
Dow. How then ? what Ihould he doe 7
Bob. Gentleman of the houXe, it is to you : is he
within, fir?
Kit. He came not to his lodgii^ to night fir, I allure you.
Dow. Why, doe you heare ? you. lo
Bob. The gentleman-otizen bath latisfied mee, lie
talke to no Icauenger.
Dow. How, fcauenger ? ftay fir, ftay ?
Kit. Nay, brother Downe-eight.
Dow. 'Heart I ftand you away, and you lone me. is
Kit. You Ihall not follow him now, I pray you,
brother. Good faith you fhall not : I will ouer-rule you.
Dow. Ha ? fcauenger ? well, goe to, I fay httle :
but, by this good day (god forgiue me I fhould fweare)
if I put it vp fo, fay, I am the rankeft cow, that euer *>
pift. 'Sdeynes, and I fwallow this, lie ne're draw my
fword in the fig^t of Fleet-ftreet againe, while I liue ; lie
fit in a bame, with Madge-howlet, and catch mice firft.
Scauenger ? 'Heart, and He goe neere to fill that huge
tumbrell-flop of yours, with fomewhat, and I haue good ■>
hicke : your Gabagantva breech cannot carry it away fo.
Kit. Oh doe not fret your felfe thus, neuer thinke on't.
Dow. Thefe are my brothers conforts, thefe I thefe [22]
are his Cam'radts, his walking mates I bee's a gallant,
a Caualiero too, right hang-man cut I I-et me not liue, v
and I could not finde in my heart to fwinge the whole
Entef Maattr Mathtm stntggling with Bobaditl. G 13 [£x#w«f
Bob.amdMat. 31 swinge] swing N
n,g,i,7cd by Google
83 Euery man in his Humor [ACT I, SC TV
them, one after another, and begin with him firft, I am
grieu'd it Ihould be faid he is my brother, and take thefe
MO com-fes, well he Ihall heare on't, and that tightly too, and
I line Ifaith.
Tho. But brother, let your apprehenfion (then)
Runne in an eafie current, not tranfported
With heady raihnes, or deuouring choller.
MS And rather carry a perfwading fpirit,
Whole powers wiD pearce mare gently; and allure,
Th'imperfect thoughts you labour to reclaime.
To a more fodaine and relolu'd affent.
Gut. I, I, let me alone for that I warrant you. BeUringt.
>»» Tho. How now ? oh the bell rings to breakefaft.
Brother Giuliano, I pray you go in and beare my wife
company : lie but glue order to my feruants for the dif-
patche of feme bufines and come to you prefently. Exit Gm't.
Enter Cob.
What Cob? our maides will haue you by the back (I^th)
■ss For comming fo late this morning.
Cob. Perhaps fo fir, take heede fome body haue not
them by the belly for walking fo late in the euening. £«■<-
Tho. Now (in good faith) my minde is fomewhat eafd.
Though not repofd in that fecuritie,
>*«As I could wilh; well, I muft be content.
How e're I fet a face on't to the world.
Would I had loft this finger at a vente.
So Proffero had ne're lodg'd in my houfe,
Why't cannot be, where there is fuch refort
■fis Of wanton gallants, and young reuellers,
n,g,i,7cd by Google
ACT II, sc. Ill] Eitery Man in his Sumour 83
ging of "hem, one after another, and begin with him firlt.
I am grieu'd, it fhould be laid he is my brother, and
take thefe courfes. Wei, as he brewes, Xo he fhall drinke,
for George, againe. Yet, he fhall heare on't, and that a
tightly too, and I Hue, Ifaith.
Kit. But, brother, let your reprehenfion (then)
Runne in an eafie current, not ore-high
Carried with rafhneffe, or deuouring choller;
But rather vfe the foft perfwading way, *<>
Whofe powers will worke more gently, and compofe
Th' imperfect thoughts you labour to reclaime :
More winning, then enforcing the confent.
Mirinfj, Dow. I, I, let me alone for that, I warrant you.
Kit. How now ? oh, the bell rings to breakefaft. *i
Brother, I pray you goe in, and beare my wife
Companie, till I come; lie but giue order
For fome difpatch of bnfinelfe, to my feruants
Jiito,,. ACT 11. SCENE III.
KiTELY, Cob, Dahe Kitely.
'Hat, Cob ? our maides will haue you by the back
(Ifaith)
For comming fo late this morning.
Cob. Perhaps fo, fir, take heed fome body haue not
*W/^them by the belly, for walking fo late in the euening. '
iniatd. Kit. WeU, j^et my troubled fpirit's fomewhat eas'd.
Though not repos'd in that fecuritie.
As I could with : But, I muft be content.
How e're I fet a face on't to the world.
Would I had loft this finger, at a venter, «•
So Well-bred had ne're lodg'd within my houfe.
Why't cannot be, where there is luch refort
Of wanton gallants, and yong reuellers,
33 ging] gang ^^9^ W> ^ 34 'o ^^ Iball] fo (hall he 1640-1-
txe. Ga 48 [Exit Downright. G Enttr Cob. with his
Utnhmrd. G To them^ omitted Ga
W«
n,g,i,7cd by Google
84 Eueiy man in his Humor [ACT I, SC rv.
That any woman Ihould be honeft long.
[26] rXt like, that factious beauty will prefenie
The foueraigne ftate of chaititie vnfcard.
When luch Itrong motiues mufter, and make head
'TO Againft her lingle peace ? no, no : beware
When mutuall pleafure Iwayes the appetite.
And rpirits of one kinde and qt^alitie.
Do meete to parlee in the pride of blood.
Well (to be plaine) if I but thought, the time
'?s Had anfwer'd their affections : ^dl the world
Should not perfwade me, but I were a cuckold :
Mary I hope tbay haue not got that ftart.
For opportunity hath halkt them yet.
And fhall do ftill, while I haue eyes and eares
'*" To attend the impoHtioD of my hart.
My prefence Ihall be as an Iron Barre,
Twixt the confpiring motions of defire.
Yea euery looke or glaunce mine eye obiects.
Shall checke occafion, as one doth his Oaue,
'Ss When he forgets the limits of prefcription.
Enter Biancha, wiih He/perida.
hia. Sifter Hefperida, I pray you fetch downe the
Rose water aboue in the clofet : Sweete hart will you
come in to breakfaft. Exit Hefperida.
Tho. And fhe haue ouer-heard me now ?
190 B$«. I ja-ay thee (good Mul/e) we ftay for you.
Tho. By Chrift I would not for a thoufand crownes.
Bta. What ayle you fweet hart, are you not well,
f peake good Muffe.
Tho. Troth my head akes extreamely on a fuddaine.
.,j Bia. Oh lelul
n,g,i,7cd by Google
ACT II, SCIII] Euery Mm in kis Humour 85
That any woman Ihould be honeft long.
I'ft like, that factious beautie will preXerue >i
The publike weaJe of chaftitie, vn-fliaken.
When fuch ftrong motiues muXter, and make head
Againit her Gngle peace ? no, no. Beware,
When mutuall appetite doth meet to treat.
And Ipirits of one kinde, and quahtie, »
Come once to parlee, in the pride of bluod :
It is no How confpiracie, that followes.
Well (to be plaine) if I but thought, the time [23
Had anlwer'd their affections : all the world
Should not perfwade me, but I were a cuckold. 'i
Mary. I hope, they ha' not got that ftart:
For oportunitie hath balkt "hem yet.
And fhall doe ftill, while I haue eyes, and eares
To attend the impofitions of my heart.
My prelence fhall be as an iron barre, y
Twist the confpiring motions of defire :
Yea, euery looke, or glance, mine eye elects.
Shall checke occafion, as one doth his Daue,
When he foi^ets the limits of prefcription.
Dauz. Sifter Bridget, pray you fetch downe the js
rofe-water aboue in the clofet. Sweet heart, will you
come in, to breakefcift.
Kite. An' fhee haue ouer-heard me now ?
Dane. I pray thee (good Mvsse) we ftay for you.
Kite. By heauen I would not for a thoufand angells. **
Dame. What aile you fweet heart, are you not well,
fpeake good Mvsse.
Kite. Troth my head akes extremely, on a fudden.
Dame. Oh, the lord I
15 I'at] iB't 1640+ 31 bluod] bloud 1640+ 34 [Enter
Dame Kitety and Bridgtt. G i6cloiet[Exit Bridget. G 44 Dame.
{pittfing har hand to hit forehead. G
n,g,i,7c.dbyG00t^lc
86 £ucry man in his Humor [ACT I. sc. iv
Tho. How DOW ? what ?
Bia. Good Lord how it bumes ? Muffe keepe you
wanoe, good truth it is this new difeafe, there's a number
are troubled withall : for Gods fake Iweete heart, come
«" in out of the ayre.
[26] Tho. How fimple, and how fubtill are her anlweres ?
A new dileale, and many troubled with it.
Why true, Xhe heard me all the world to nothing.
Bia. I pray the« good Iweet heart come in ; the ayre
"s wiU do you harme in troth.
Tho. He come to you prelently, it will away I hope.
Bia. Pray God it do. Exit.
Tho. A new difeale ? I know not, new or old.
But it may well be call'd poore mortals Plague ;
aio For like a peltilence it doth infect
The houfes of the braine : firft it begins
Solely to worke vpon the fantafie.
Filling her feat with luch peftiferous aire.
As foone corrupts the iudgement, and from thence,
"s Sends like contagion to the memorie.
Still each of other catching the infection.
Which as a fearching vapor fpreads it felfe
Confufedly through euery fenfiue part.
Till not a thought or motion in the mind
"•> Be free from the blacke poifon of lufpect.
Ah, but what error is it to know this.
And want the free election of the foule
In fuch extreames ? well, I will once more (triue,
(Euen in defpig^t of hell) my felfe to be,
«5 And fhake this feauer off that thus fhakes me.
Exit.
n,g,i,7cd by Google
ACTii, SC.III] Euery Man in his Humour 87
Kite. How now ? what ? «*
Dame. Alas, how it bumes ? Mvsse, keepe you
warme, good truth it is this new difeafe I there's a numba
are troubled withall I for loues lake, fweet heart, come
in, out of the aire.
Kite. How fimple, and how fubtiU are her anXweres ? x>
A new diXeafe, and many troubled with it I
Why, true : Ihee heard me, all the world to nothing.
Dahb. I pray thee, good Iweet heart, come in ; the
aire will doe you harme in, troth.
Kite. The aire I Ihee has me i' the wind 1 fweet 95
heart!
De come to you prelently : 't will away, I hope.
Dow. Pray heauen it doe.
Kite. A new difeale ? I know not, new, or old.
But it may well be call'd poore mortalls plague : «o
For, like a peltilence, it doth infect
The houfes of the braine. FirXt, it b^ins
Solely to worke vpon the phantalie.
Filling her feat with fuch peltiferous aire.
As loone corrupts the iudgement; and from thence, ^s
Sends like contagion to the memorie:
Still each to other giuing the infection.
Which, as a fubtle vapor, fpreads it felfe,
ConfuJedly, through euery lenfiue part.
Till not a thought, or motion, in the mind, ;o
Be free from the blacke poyfon of lofpect. [24]
Ah, but what miferie'is it, to know this ?
Or, knowing it, to want the mindes erection.
In fuch extremes ? Well, I will once more ftriue,
(la fpigbt of this black cloud) my feUe to be, 7s
And Ihake the feauer off, that thus fhakes me.
34 barme in,] hanue, in 1640 58 Dow.] Dam« 1640+
38 [Exit. G 76 lExil. G
n,g,i,7cd by Google
88 Enery man in his Humor [act ii, s& I
ACTVS SECVNDVS.
SCENA PRIMA.
Enter Mufco difguifed like a foldier.
Mufco. STalood, I ceumot chufe but laugh to fee my
Xelfe tranilated thus, from a poore creature to a creator ;
for now mult I create an intolerable fort of lies, or elfe
my profeffion loofes his grace, and yet the lie to a man
s of my coat, is as ominous as the Fico, oh fir, it holds
for good poUcie to haue that outwardly in vileft efti-
[27] mation, that inwardly is molt deare to vs : So much for
my borrowed Ihape. Well, the troth is, my maifter
intends to follow his lonne drie-foot to Florence, this
lo morning : now I knowing of this confpiracie, and the
rather to inlinuate with my young matter, (for fo muft
wee that are blew waiters, or men of feruice doe, or elfe
perhaps wee may weare motley at the yeares end, and
who weares motley you know:) I haue got me afore in
ij this difguife, determining here to lie in ambufcado, &
intercept him in the midway : if I can but get his cloake,
his purfe, his hat, nay any thing fo I can ftay his ioumey.
Rex Regum, I am made for euer ifaith : well, now muft
I practife to get the true garbe of one of thefe Launch'
.o knights: my arme here, and my : Gods fo, young naafter
and his coufin.
Enter Lo. tu. and Step.
Lo. iu. So fir, and how then ?
Step. Gods foot, I haue loft my ptu'fe, I thinke.
Lo. ui. How ? loft your purfe ? where ? when bad
9s you it ?
Step. J cannot tell, ftay.
Mu/. S'Ud I am afeard they will know me, would /
could get by them.
Lo. iu. What ? haue you it 7
y> Step. No, I thinke X was bewitcht, I.
n,g,i,7cd by Google
ACrn. SCIV] Euery Man in his Bumom 89
ACT II. SCENE nil.
Brayne-worice, Ed. Kno'weix,
M'. Stephen.
C 'Lid, I cannot choofe but laugh, to fee my felf e tranflated
thus, from a poore creature to a creator ; for now muf t
I create an intolerable iort of lyes, or my jwefent prof effion
loofes the grace : and yet the lye to a man of my coat, is
as ominous a fruit, as the Fico. O fir, it holds for good i
poJitie euer, to haue that outwardly in vileft eftimation,
that inwardly is molt deare to vs. So much, for my bor-
rowed Ihape. Well, the troth is, my old matter intends
to follow my yong, drie foot, ouer Morefields. to London,
this morning : now I, knowing, of this hunting-match, or »
rather confpiracie, and to infinuate with my yong mafter
(for f o mult we that are blew- waiters, and men of hope and
feruice doe, or perhaps wee may weare motley at the yeeres
end, and who weares motley, you know) haue got me afore,
in this difguife, detennining here to lye in amhufcado, 13
and intercept him, in the mid-way. If I can but get
his cloke, his purfe, his hat, nay, any thing, to cut him
off, that is, to ftay his ioumey, Vent, vidi, vici, I may
lay with Capta}me Caesar, I am made for euer, ifaith.
Well, now muft I practice to get the true garb of one *c
of thefe Lance-knights, my arme here, and my — ^yong
malter I and his coufin, M'. Stephen, as I am true
counterfeit man of warre, and no louldier I
E. Kn. So fir, and how then, couM ?
Step. 'Sfoot, I haue loft my purfe, I thinke. ij
E.Kn. How? loft your purfe? where ? when had you it?
Step. I cannot tell, ftay.
Bray. 'Slid, I am afeard, they will know mee, would
I could get by them.
E. Kn. What ? ha' you it ? s'
Step. No, I thinke I was bewitcht, I
Moorfiilds. Enter Brainwonn disguised like a maimed Soldier. G
9 yong] young Mafter G 31 my — ] my — Odsol ny G
13] Enttr E. Knowell and Stephen. G 31 [Cries. G
n,g,i,7cd by Google
90 Euery man in his Humor [ACT ii, sc. I
Lo. iu. Nay do not weep, a poxe on it, hang it let
it go.
Step. Oh it's here ; nay and it had beene loft, / had
not car'd but for a iet ring Mtmna fent me.
a Lo. itt. A iet ring i oh the poesie, the poesie ?
Sup. Fine i&ith : Though fancie jleepe, my hue is
deefe: meaning that though / did not fancie her, yet
fhee loued mee dearely.
Lo. iu. Moft excellent.
,a Step. And then I fent her another, and my poefie
was ; The deeper the {we^er, lie be iudg'd by Saint Peter.
Lo. iu. How, by S. Peter ? 2 do not conceiue that.
Step. Marrie, S. Feter to make vp the meeter.
Lo. iu. Well, you axe beholding to that Saint, he help't
4j you at your need ; thanke him, thanke him.
[28] Af«/. I will venture, come what will: Gentlemen,
please you chaunge a few crownes for a verie excellent
good blade here ; I am a poore gentleman, a foldier, one
that (in the better ftate of my fortunes) fcomd lo meane
so a refuge, but now its the htmiour of neceffitie to haue
it fo : you feeme to be gentlemen well affected to martial!
men, els I fhould rather die with lilence, then liue with
fhame : how e're, vouchfafe to remember it is ray want
fpeakes, not my felfe : this condition agrees not with my
!s fpirit.
Lo. iu. Where haft thou feru'd ?
Muf. May it pleafe you Signior, in all the prouinces
of Bohemia. Hungaria, Dalmaiia, Poland, where not ?
I haue beene a poore feruitor by fea and land, any time
6o this xiiij. yeares, and foUow'd the fortunes of the beft
Commaunders in Chriftendome. I was twife fhot at the
takii^ of Aleppo, once at the rehefe of Vienna ; I hane
beene at America in the g^dleyes thrile, where I was
moft dangeroufly fhot in the head, through both the
H thighes, and yet being thus maim'd I am voide of main-
n,g,i,7cd by Google
ACT II, SCIV] Euery Man in his Bumour 91
£. Kn. Nay, doe not weepe the loffe, hang it, let it goe.
Step. Oh, it's here : no, and it had beene lolt, I had
not car'd, but for a iet ring miltris Mary lent me.
E. Kn. a iet ring ? oh, the poefie, the fioe/ie ? ■ ss
Step. Fine, ifaith I Though fancie fleep, my loue is
deepe. ' Meaning that though I did not fancie her, yet
Ihee loued me dearely.
E. K. Molt excellent 1
Step. ' And then, I lent her another, and my poefie [25]
was : The deeper, the fweeter, lie be iudg'd by S'. Peter.
E. Kn. How, by S*. Peter ? I doe not conceiue that I
Step. Mary, S*. Peter, to maJce vp the meeter.
£. Kn. Well, there the Saint was your good patron,
hee help't you at your need : thanke him, thanke him. ^' "
Bray. I cannot take leaue on "hem, fo : I will ven- j^.
ture, come what wiU. Gentlemen, pleafe you change a
few crownes, for a very excellent good blade, here :
I am a poore gentleman, a fouldier, one that {in the
better ftate of my fortunes) fcom'd fo meane a refuge, so
but now it is the humour of neceffitie, to haue it lo.
You feeme to be gentlemen, well affected to martial! men,
eUe I Ihould rather die with filence, then Hue with fhame :
how euer, vouchfafe to remember, it is my want fpeakes,
not my felf e. This condition agrees not with my f pint ss
E, Kn. Where haft thou feru'd ?
Bray. May it pleafe you, fir, in all the late wanes
of Bohemia, Hungaria, Dalmatia, Poland, where not, £ir ?
I haue been a poore feruitor, by fea and land, any time
this fourteene yeeres, and follow'd the fortunes of the 6»
belt Commanders in chriftendome. I was twice fhot at
the taking of Alepo, once at the reliefe of Vienna ; I haue
beene at Marfeilles, Naples, and the Adriatique gulfe, a
gentleman-Ilaue in the g£dleys, thrice, where I was moft
dangeroufly fhot in the head, throi^h both the thighs, «$
47 will [Comts forward. G
n,g,i,7cd by Google
92 Euery man in liis Homor [ACT II, SC. I
tenance, nothii^ left me but my fcarres, the noted markes
of my refolution.
Step, How will you fell this Rapier friend ?
Muf. Faith Signior, I referre it to yora- owne iudge-
To ment ; you are a gentleman, giue me \rtiat you pleafe.
Step. True, I am a gentleman, I know that ; but what
though, I pray you lay, what would you aike 7
Muf. I alfure you the blade may become the fide of
the beft prince in Europe.
Ji Lo. iu. I, with a veluet fcabberd.
Step. Nay and't be mine it Ihallhauea veluet Icabberd,
that is flat, i'de not weare it as 'tis and yon would giue
me an angell.
Muf. At your pleafiire Signior, nay it's a moft pure
»» Toledo.
Step. I had rather it were a Spaniard : but tell me,
what fhal I giue you for it 7 and it had a filuer hilt
Lo. iu. Come, come, you fhall not buy it ; holde there's
a fhilling friend, take thy Rajner.
'» Step. Why but I will buy it now, becaule you fay fo :
29] what fhaU I go without a rapier ?
Lo. iu. You may buy one in the citie.
Step. Tut, ile buy this, £o I will ; tell me your lowed
price,
»• Lo. iu. You fhall not I lay.
Step. By Gods Ud, but I will, though I giue more then
'tis worth.
Lo. iu. Come away, you are a foole.
Step. Friend, ile haue it for that word ; follow me.
n,g,i,7cd by Google
ACTII, SC-IV] Euery Man in his Humow 93
and yet, being thus maym'd, I £iin void of maintenance,
nothing left me but my fcarres, the noted markes of
my refolution.
Step, How will you fell this rapier, friend?
Bray. Generous fir, I refeire it to your owne iudge- 7=
ment ; you are a gentleman, giue me what you pleafe.
Step. True, I am a gentleman, I know that friend :
but what though ? I pray you fay, what would you
aske ?
Bray, I affure you, the blade may become the fide, tj
or thigh of the beft prince, in Europe.
£. Km. I, with a veluet fcabberd, I thinke.
Step. Nay, and 't be mine, it fhall haue a veluet
fcabberd, CouXX, that's flat : I'de not weare it as 'tis,
and you would giue me an angell. »»
Bray. At your worfhips pleaXure, fir ; nay, 'tis a
moft pure Toledo.
Step. I had rather it were a Spaniard I but tell me,
idiat fhall I giue you for it ? An' it had a filuer hilt
E. Kn. Come, come, you fhall not buy it ; hold, ij
there's a {billing fellow, take thy rapier.
Step. Why, but I will buy it now, becaule you fay
fo, and there's another fhilling, fellow. I Icome to be
out-bidden. What, (hall I walke with a cudgell, like
Higgin-Bottom ? and may haue a rapier, for money ? 90
E. Kn. You may buy one in the citie.
Step. Tut, He buy this i' the field, fo I will, I haue
a mind to't, becaufe 'tis a field rapier. Tell me your
loweft price.
E. Kn. You fhall not buy it, I (ay. [26]
Step. By this money, but I will, though I giue more
then 'tis worth,
E. Kn. Come away, you are a foole.
Step. Friend, I am a foole, that's granted : but He
haue it. for that words fake. Follow me, for your money. i<><>
n,g,i,7cd by Google
94 Euery man in his Humor [ACT II, SC. 11
>s Mm/. At your [eniice Signior. "Exeunt.
SCENA SECVNDA.
Enter Lorenzo jenior.
Lore. My labouring Ipirit being late opprelt
With my fonnes foUic, can embrace no reft.
Till it bath plotted by aduile and fkill.
How to reduce him from affected will
s To reafons manage ; which while I intend.
My troubled foule beginnes to apprehend
A farther fecret, and to meditate
Vpon the difference of mans eftate :
Where is deciphered to true iudgements eye
" A deep, conceald, and precious mifterie.
Yet can I not but worthily admire
At natures art : who (when fhe did infpire
This heat of life) plac'd Reafon (as a king)
Here in the head, to haue the marfhalling
s Of our affections : and with foueraigntie
To Iway the ftate of our weake emperie.
But as in diuers conunonwealthes we fee.
The forme of gouemment to difagree :
n,g,i,7c.dbyG00'^lc
ACT ir, SC- Vj Euery Man in his Humour 95
Bray. At your leniice, fir.
ACT II. SCENE V.
Kno'well, Brayne-worme.
T Cannot loofe the thought, yet, of this letter.
Sent to my Tonne : nor leaue t' admire the change
Of manners, and the breeding of otu' youth,
Within the Idngdome, fince my felfe was one.
When I was yong, he liu'd not in the ftewes,
Ihirft haue conceui'd a Xcome, and vtter'd it.
On a grey head ; age was authoritie
Againft a bufion : and a man had, then,
A certEiine reuerence pai'd vnto his yeeres.
That had none due vnto his hfe. So much n
The fanctitie of fome preuail'd, for others.
But, now, we all are faU'n ; youth, from their feare :
And Eige, from that, which bred it, good example.
Nay, would our (elues were not the firft, euen parents.
That did deltroy the hopes, in our owne children : ■:
Or they not leam'd our vices, in their cradles.
And fuck'd in our ill cuftomes, with their milke.
Ere all their teeth be borne, or they can fpeake.
We make their palats cunning 1 The firft wordes.
We forme their tongues with, are Ucentious iefts ! ><
Can it call, whore ? crie, baftard ? 6, then, Idlfe it,
A wittie child ! Can't fweare ? The fathers dearling I
Giue it two plums. Nay, rather then't fhall leame
No bawdie fong, the motherTier felfe will teach it !
But, this is in the infancie; the dayes *
Of the long coate : when it puts on the breeches.
It will put off all this. I, it is like:
loi lir [Exeunt. G Another part of Hoorfields. Enter Kao-
welL G 24 mother' [mother 1640+
n,g,i,7cd by Google
96 Euery man in his Humor [ACT 11, SC. II
Euen fo in man who Xearchetb foone Dial find
" As much or more varietie of mind.
Some mens affections like a fullen wife,
Is with her hufband reafon Itill at ftrife.
Others (like proud Arch-traitors that rebel!
Againft their foueraigne) practile to expell
[SO] Their hege Lord Reafon, and not fhame to tread
Vpon his holy and annointed head.
But as that land or nation beft doth thriue.
Which to fmooth-fronted peace is moft prochue,
So doth that mind, whole faire affections rang'd
n,g,i,7cd by Google
ACTII, SC. V] Euery Mm in hi$ Humour 97
When it is gone into the bone alreadie.
No, no : This die goes deeper then the coate.
Or Ihirt, or skin. It ftaines, vnto the huer, 3<>
And heart, in fome. And, rather, then it Ihould not,
Note, what we fathers doe I Looke, how we hue I
What miltreffes we keepe ! at what expenfe,
In our fonnes eyes I where they may handle our gifts,
Heare our laXciuious courtfhipw, lee our dalhance, [27]
Taft of the lame prouoking meates, with vs.
To ruine of our Itates I Nay, vrhtn our owne
Portion is fled, to prey on their remainder.
We call them into fellowlhip of vice !
Baite 'hem with the yong chamber-maid, to feale 1 w
And teach 'hem all bad wayes, to buy affiction !
This is one path I but there are milUons more,
In which we Ipoile our owne, with leading them.
Well, I tfaanke heauen, I neuer yet was he,
That trauail'd with my lonne, before fixteene, ^
To Ihew him, the Veneiian coriezans.
Nor read the grammar of cheating, I had made
To my fharpe boy, at twelue : repeating ftiU
The rule. Get money; {till. Get money. Boy;
No mailer, by what meanes; Money mil doe 50
More, Boy, then my Lords letter. Neither haue I
Dreft fnailes, or mufhromes curioufly before him,
Perfuin'd my fauces, and taught him to make *hem ;
Precedii^ ItiU, with my grey gluttonie.
At all the ordinaries : and only fear'd ss
His palate fhould degenerate, not his manners.
Thele are the trade of Others, now ! how euer
My fonne, I hope, bath met within my threlhold.
None of thefe hoafhold precedents ; which are ftrong,
37 Itates] Itste 1640+ txe. N, H, Ga 41 affiction] afiection
1&40+ exe. afdictioii, G, H, N; affiction Ga
n,g,i,7cd by Google
gS Euery man in his Humor [ACT II, SC. II
y By reasons rules, ftand conltant and vnchang'd.
Els, if the power of reaion be not fuch.
Why do we attribute to him fo much ?
Or why are we oblequious to his law.
It he want fpirit our affects to awe ?
ji Oh no, I argue weakly, he is ftrong. Enter Mufco.
Albeit my lonne haue done him too much wrong.
Muf. My mafter : nay faith haue at you : / am flefht
- now / haue Iped fo well : Gentleman, I befeech you re-
fpect the eftate of a poor foldjer ; I am afham'd of this
4» l^e courfe of Ufe (God's my comfort) but extremitie
prouokes me to't, what reraedie ?
Loren. I haue not for you now.
Mu/. By the faith I beare vnto God, gentleman, it
is no ordinarie cuftome, but onely to preXerue manhood.
'! I proteft to you, a man I haue bin, a man I may be, by
your fweet bountie.
Lor. I pray thee good friend be fatiffied.
Muf. Good Signior : by /efu you may do the part of
a kind gentleman, in lending a poore (oldier the price of
i" two cans of beere, a matter of fmall value, the King of
heauen fhall pay you, and I (hall reft thankfull : fweet
Signior.
Loren. Nay and you be fo importunate
Muf. Oh Lord fir, need wil haue his courfe : I was
ss not made to this vile vfe ; well, the edge of the enemie
could not haue abated me fo much : it's hard when a
man hath ferued in his Princes caufe and be thus. Sig-
uier, let me deriue a fmall peece of filuer from you, it
fliall not be giuen in the courfe of time, by this good
So ground, I v/as faine to pawne my rapier laft night for a
poore fupper, I am a Pagan els : fweet Signior.
Loren. Beleuee me I am rapte with admiration.
To thinke a man of thy exterior prelence.
Should (in the conftitution of the mind)
n,g,i,7cd by Google
ACT II, SC. V] Euo'y Man in his Humour 99
And Xwift, to rape youth, to their precipice. «»
But, let the houfe at home be nere fo cleane-
Swept, or kept fweet from filth ; nay, duft, and cob-webs :
If he wnll hue, abroad, with his companions.
In dung, and leyftalls ; it is worth a feare.
Nor is the danger of conuerling leffe. 5j
Then all that I haue mention'd of example.
Bray. My ma£ter ? nay, faith haue at you : I am
flefht now, I haue fped fo well. Worlhipfull lir, I be-
feech you, refpect the ef tate of a poore fouldier ; I am
affaam'd of this bale courfe of hfe (god's my comfort) 7"
but extremitie prouokes me to't, what remedie ?
Kno. I haue not for you, now.
Bray. By the faith I beare vnto truth, gentleman,
it is no ordinarie cuftome in me, but only to preferuc
manhood. I proteft to you, a man I haue beene, a man rs
I may be, by your fweet bountie.
Kno. 'Pray thee, good friend, be fatisfied.
Bray. Goo^ fir, by that hand, you may doe the part
of a kind gentleman, in lending a poore fouldier the
price of two Cannes of beere (a matter of fmall value) so
the king of heauen fhall pay you, and I fhall reft thank-
full : fweet worfhip
Kno. Nay, and you be fo importunate [28
Bray. Oh, tender fir, need will haue his courfe : I
was not made to this vile vfe ! well, the edge of the »s
enemie could not haue abated mee fo much : It's hard
"when a man hath feru'd in his Princes caufe, and be
thus — Honorable worfhip, let me deriue a fmall piece of
filuer from you, it fhall not bee giuen in the courfe of
time, by this good ground, I was faine to pawne my »•
rapier laft night for a poore fupper, I had luck'd the
hilts long before, I am a pagan elfe : fweet honor.
Kno. Beleeue me, I am taken with fome wonder.
To thinke, a fellow of thy outward prefence
Should (in the frame, and fafhion of bis mind) m
66 [Enter Brainworm, disguised as before. G 68 well [aside. G
n,g,i,7cd by Google
lOO Euery man in his Humor [ACT II. SC. II
[31] Be fo degenerate, infinne, and bale.
Art thou a man ? and fham'ft thou not to beg ?
To practife Inch a leniile kinde of life ?
Why were thy education ne're fo meane,
Hauing thy limbes : a thouTand fairer courfes
70 Offer themfelues to thy election.
Nay there the warres might ftill fupply thy wants,
Or feruice of fome vertuous Gentleman,
Or honeft labour; nay what can I name,
But would become thee better then to beg ?
T» But men of your condition feede on floth.
As doth the Scarabe on the dung Ihe breeds in.
Not caring how the temper of your fpirits
Is eaten with the ruft of idleneffe.
Now afore God, what e're he be, that fhould
•• Releeue a perfon of thy quaUtie,
While you infift in this loofe defperate courfe,
I would efteeme the finne not thine but his.
Muf. Faith fignior, I would gladly finde fome other
courfe if fo.
>s Loren. I, you 'Id gladly finde it, but you will not feeke it-
Muf. Alaffe fir, where fhould a man feeke ? in the
warres, there's no affent by defart in thefe dayes, but :
and for feruice would it were as foone purchaft as wifht
for (Gods my comfort) I know what I would fay.
»• Loren. Whats thy name.
Muf. Pleafe you : Portenfio.
Loren. Vortenjio?
Say that a man fhould entertaine thee now.
Would thou be honeft, humble, iuft and true.
» Mm/. Signior : by the place and honor of a fouldier.
n,g,i,7cd by Google
ACT II. SC V] Euery Man in his Humour loi
Be lo degenerate, and lordid-baie !
Art thou a man ? and Xham'ft thou not to beg ?
To practife luch a feruile kind of Ufe ?
Why, were thy education ne're fo meane,
Hauing thy limbs, a thou^ind fairer courfes "
Offer tbemfelues, to thy election.
Either the warres might ItiU fupply thy wants.
Or feruice of fome vertuous gentleman.
Or honeft labour : nay, what can I name.
But would become thee better then to beg ? "
But men of thy condition feed on floth.
As doth the beetle, on the dung fhee breeds in.
Not caring how the mettall of your minds
Is eaten with the ruft of idleneffe.
Now, afore me, what e're he be, that fhould "
Relieue a perfon of thy quaUtie,
While thou infift's in this loofe defperate courfe,
I would efteeme the finne, not thine, but his.
Bray. Faith fir, I would gladly finde fome other
courfe, if fo "
Kno. I, you'ld gladly finde it, but you will not feeke it.
Bray. Alas fir, where fhould a man feeke 7 in the
warres, there's no afcent by defert in thefe dayes, but —
and for feruice, would it were as foone purchaft, as
wifht for (the ayre's my comfort) I know, what I would "
fay
Kno. What's thy name ?
Bray. Pleafe you, Fitz-Swohd, fir.
Kno. Fitz-Sword ?
Say, that a man fhould entertayne thee now, "
Would'ft thou be honeft, humble, iuft, and true ?
Bray. Sir, by the place, and honor of a fouldier—
) comiort Isigks. G
n,g,i,7cd by Google
102 Euery man in his Humor [ACT ir. sc. ill
Loren. Nay, nay, I like not these affected othes ;
Speake plainly man : what thinkit thou of my words ?
Mu/. Nothing lignior, but wiOi my fortunes were as
happy as my feruice Ihould be honeft.
"° Loren. Well follow me, ik prooue thee, if thy deedes
Will cary a propwrtion to thy words. Exit Lor.
[32] Muf. Yes fir Itraight, ile but garter my hofe ; oh
that my beUie were hoopt now, for I am readie to burft
with laughing. S'lid, was there euer feene a foxe in
'"i yeares to betray himfelfe thus P now fball I be poffeft of
all his determinations, and conlequently and my young
mafter well hee is resolu'd to proue my honeftie : faith
and / am refolued to proue his patience ; oh I fhall abufe
him intollerabbe : this fmall peece of feruice will bring
■» him cleane out of loue with the foldier for euer. It's no
matter, let the world thinke me a bad counterfeit, if I
cannot giue him the flip at an inftant : why this is better
then to haue ftaid his ioumey by halfe, well ile follow
him : oh how I long to be imployed. Exit.
SCENA TERTIA.
Ertter Profpero, Bobadiila, and Maiheo.
Mat. Yes faith fir, we were at your lodging to feeke
you too. ,
Prof. Oh I came not there to night.
Bob. Your brother deliuered vs as much.
Pro/. Who Giuliano ?
Bob. Giuliano ? Signior Profpero. 1 know not in what
kinde you value me, but let me tell you this : as fure as
n,g,i,7cd by Google
ACT III. sc. I] Euery Man in Ais Humow 103
Kno. Nay, nay. I like not thole affected othes ;
Speake plainely man : what think'ft thou of my wordes ?
Bray. Nothing, fir, but wifh my fortunes were as 's"
happy, as my feruice fhould be honeft.
Kno. Well, follow me. He proue thee, if thy deedes [29]
Will carry a proportion to thy words
Bray. Yes fir, ftraight. He but garter ray hole. Oh
that my belly were hoopt now, for I am readie to burft 135
with laughing ! neuer was bottle, or bag-pipe fuller.
S'lid, was there euer feene a foxe in yeeres to betray
himXelfe thus ? now fhall I be poffeft of all his counfells :
and, by that conduit, my yong mafter. Well, hee is
refolu'd to proue my honeltie ; faith, and I am refolu'd "o
to proue his patience : oh I fhall abufe him intollerably.
This fmall piece of feruice, will bring him cleane out of '
loue with the fouldier, for euer. He will neuer come
within the figne of it, the fight of a caffock, or a musket-
reft againe. Hee will hate the mufters at Mile-end for i4s
it, to his dying day. It's no matter, let the world thinke
me a bad counterfeit, if I cannot giue hira the flip, at
an inftant: why, this is better then to haue ftaid his
ioumey ! well. He follow him ; oh, how I long to bee
imployed. '5=
ACT III. SCENE I.
Matthew, Well-bred, Bobadill, Ed.
Kno'well, Stephen.
"VTEs faith, fir, we were at your lodging to feeke you, too,
Wel. Oh. I came not there to night.
Bob. Your brother deliuered vs as much.
Wel. Who ? my brother Downe-right ?
Bob. He. M'. Well-bhed, I know not in what kind 5
you hold me, but let me fay to you this : as fure as honor,
133 [Exil. G 150 [ExU. G TheOld Jewry. A Room in
the Windmill Tavern. Enter Master Mathiw. Wellbred, and Bobadill. G
n,g,i,7cd by Google
104 Euery man in his Humor [ACT ll, sc. in
God I do hold it lo much out of mine honor & reputation,
il I Ihould but caft the leaft regard vpon Inch a dunghill
"■ of flefh ; I proteft to you (as I haue a loule to bee faued)
I ne're faw any gentlemanlike part in him: and there
were no more men huing vpon the face of the earth, I
fhould not fancie him by Fhcebus.
Mai. Troth nor I, he is of a rufticall cut, I know not
': how : he doth not carrie himfelfe like a gentleman.
Pro/. Oh Signior Matheo, that's a grace pecuhar but
to a few; guos tsquus amauit lupiier.
Mat. I vnderftand you fir.
Enter Lorenzo iunior, and Step.
"Prof. No question you do fir : Lorenzo ; now on my
•" foule welcome ; how doeft thou fweet raikall ? my Genius ?
S'blood I fhal loue ApoUo, & the mad Thefpian girles
the better while I hue for this ; my deare villaine, now I
i] fee there's fome fpirit in thee : Sirra thefe be they two I
writ to thee of, nay what a drowfie humor is this now ?
's why doeft thou not fpeake ?
Lo. lu. Oh you are a fine gallant, you fent me a rare
letter.
Prof. Why was't not rare ?
Lo. In. Yes ile be fwome I was ne're guiltie of reading
^ the like, match it in all Plintes famihar Epiftles, and ile
haue my iudgement bumd in the eare for a rogue, make
much of thy vaine, for it is inimitable. But I marie
what Camell it was, that had the cariage of it ? for doubt-
lelfe he was no ordinarie beaft that brought it.
IS Prol. Why?
Lo. lu. Why fayeft thou ? why doeft thou thinke that
any reafonable creature, efpecially in the morning, (the
fober time of the day too) would haue taine my father
for me 7
n,g,i,7cd by Google
ACT III, SC. I] Euery Man in his Humour 105
I efteeme it lo much out of the funne-fhine of reputation,
to through the leaft beame of reguard, vpon luch a
Wel. Sir, I mult heare no ill wordes of my brother.
Bob. I, proteft to you, as I haue a thing to be fau'd ">
about me, I neuer faw any gentleman-hke part
Wel. Good Captayne, faces about, to fome other dif-
courle.
Bob. With your leaue, fir, and there were no more
men lining vpon the face of the earth, I fhotild not fancie
him, by S. George. -s
Mat. Troth.norl.heisofarulticallcut.Iknownothow:
he doth not carry himfelfe Uke a gentleman of fafhion
Wel. Oh, W. Matthew, that's a grace pecuhar but
to a few ; quos tequus amauH Ivpiter.
Mat. Ivnderftand you fir. •=
Wel. No queftion, you doe, or you doe not, fir. ^''"^
Ned Kno'well I by my foule welcome ; how doeft thou enten.
fweet fpirit, my Genius ? S'Ud I fhall loue Apollo, and
the mad Thefpian girles the better, while I hue, for this ;
my deare furie : now, I fee there's fome loue in thee ! as
Sirra, thefe bee the two I writ to thee of (nay, what a
drowfie humour is this now ? why doeft thou not fpeakc ?)
E.Kn. Oh, you are a fine gallant, you lent me a rare [30]
letter !
Wel. Why, was't not rare ? '"
E. Kn. Yes, He bee fwome, I was ne're guiltie of
reading the hke ; match it in all Punie, or Symmachvs
epiftles, and He haue my iudgement bum'd in the eare
for a rogue : make much of thy vaine, for it is inimitable.
But I marie what camell it was, that had the carriage of it ? "
for doubtleffe, he was no ordinarie beaft, that brought it !
Wel. Why ?
E. Kn. Why, faief t thou ? why doeft thou thinke that
any realonable creature, ef pecially in the morning (the f ober
time of the day too) could haue mif-tane my father for me ? "
21 Yong Kno'well enters.] Enter E. Knowell and Master Stepkttt. G
n,g,i,7cd by Google
io6 Euery man in his Humor [ACTIi, sc. Ill
*" Prof. S'blood you left I hope ?
Lo. lu. Indeed the beft vfe we can tunie it too, is
to make a ieft on't now : but ile affure you, my father
had the prouing of your copy, feme howre before I
law it.
«s Pro/. What a dull flaue was this ? But firrah what
fayd he to it yfaith ?
Lo. lu. Nay / know not what he faid. But / haue
a fhrewd geffe what he thought.
Pro. What ? what ?
>" Lo. lu. Mary that thou art a damn'd diffolute villaine.
And / fome graine or two better, in keeping thee company.
Prof. Tut that thought is like the Moone in the laft
quarter, twill change Ihortly : but lirrha, / pray thee be
acquainted with my two Zanies heere, thou wilt take
5s exceeding pleafure in them if thou hearft them once, but
what (trange peece of filence is this ? the figne of the
dmnbe man ?
Lo. lu. Oh fir a kinfman of mine, one that may make
our Musique the fuller and he pleafe, he hath his humor fir.
*° Prof. Oh what ist ? what ist ?
Lo. lu. Nay : ile neyther do thy iudgement, nor his
folly that wrong, as to prepare thy apprehenlion : ile leaue
him to the mercy of the time, if you can take him : fo.
[84] Prof. Well fignior BobadiUa: fignior Maiheo: I pray
«s you know this Gentleman here, he is a friend of mine, &
one that will wel deferue your affection, I know not your
name fignior, but I fhalbe glad of any good occafion,
to be more famiUar with you.
Step. My name is fignior Stephano, fir, I am this
70 Gentlemans coufin, fir bis father is mine vnckle ; fir,
I am fomewhat melanchohe, but you fball commaund
me fir, in whatfoeuer is incident to a Gentleman.
n,g,i,7cd by Google
ACT III, SC. I] Euery Matt in his Humour 107
Wel. S'lid, you ieft, I hope ?
E. Kn. Indeed, the belt vie wee can tume it too, is to
make aieft on't, now : but He alfure you, my father had the
full view o' your flourifhing ftile, fome houre before I faw it.
Wel. What a dull flaue was this ? But, firrah, what 4s
laid hee to it, Ifaith ?
E. Kn. Nay, I know not what he faid : but I haue
a fhrewd gelle what hee thought.
Wel. What ? what ?
E. Kn. Mary, that thou art fome ftrange diffolute jo
yong fellow, and I a grajne or two better, for keeping
thee companie.
Wel. Tut, that thought is like the moone in her laft
quarter, 'twill change fhortly : but, firrha, I pray thee
be acquainted with my two hangby's here ; thou wilt js
take exceeding pleafure in Tiem if thou hear'ft 'hem
once goe : my wind-inftruments. He wind Tiem vp
but what ftrange piece of filence is this ? the figne of
the dmnbe man ?
E. Kn. Oh, fir, a kinfman of mine, one that may 60
make your mufique the fuller, and he pleafe, he has
his humour, fir,
Wel. Oh, what ift ? what ift ?
E, Kn. Nay, He neither doe your iudgement, nor
his folly that wrong, as to prepare your apprehenfion : He «5
leaue him to the mercy o' your fearch, if you can take him, fo.
Wel. Well, Captaine Bobadill, M'. Matthew, pray
you know this gentleman here, he is a friend of mine,
^^^'^and one that will deferue your affection. I know not
your name fir, but I Ihall be glad of any occafion, to jo
render me more famihar to you.
Step. My name is M^ Stephen, iir, I am this gentle-
mans owne coufin, fir, his father is mine vnckle, fir,
I am fomewhat melancholy, but you fhall conunand me,
fir, in whatfoeuer is incident to a gentleman. jj
n,g,i,7cd by Google
io8 Euery man in his Humor [ACT II, sc. HI
Bo&. Signior, I muft tell you this, I am no general 1
man, embrace it as a moft high fauour, for (by the holt
» of Egypt) but that I conceiue you, to be a Gentleman
of fome parts, I loue few words : you haue wit : imagine.
Step. I truely fir, I am mightily giuen to melancholy.
Mat. Oh Lord fir, it's your only belt humor fir, your
true melancholy, breedes your perfect fine wit fir : I am
** melanchohe my felfe diuers times fir, and then do I no
more but take your pen and paper prefently, and write
you your halfe fcore or your dozen of fonnets at a fitting.
Lo. iu. Maffe then be vtteis them by the groffe.
Step. Truely fir and I loue fuch things out of meafure.
»i Lo. iu. I faith, as well as in meafure.
Mai. Why I pray you fignior, make vfe of my ftudie,
it's at your feniice.
Step. I thanke you fir, I fhalbe bolde I warrant you,
haue you a clofe ftoole there ?
»» Mai. Faith fir, I haue fome papers there, toyes of
mine owne doing at idle houres, that you'le fay there's
fome fparkes of wit in them, when you fhall fee them.
Profp. Would they were kindled once, and a good
fire made, I might fee felfe loue bumd for her herefie.
»s Step. Coufin, is it well ? am I melanchohe inough ?
Lo. iu. Oh I, excellent.
Pro/p. Signior BohadiUa? why mule you fo ?
Lo. iu. He is melancholy too.
'Bob. Faith fir, I was thinking of a moft honorable
>oo piece of feruice wsis perform'd to morow ; being S. Marks
day : fhalbe fome ts years.
Lo. iu. In what place was that feruice, I pray you fir ?
n,g,i,7cd by Google
ACTlir, SC, I] Every Man in /us Humour 109
Bob. Sir, I muft tell you this, I am no generall man,
but for M', Wel-bred's fake (you may embrace it, at
what height of fauour you pleafe) I doe commimicate
with you : and conceiue you, to bee a gentleman of fome
parts, I loue few wordes. "=
E. Kn. And I fewer, fir. I haue Icarce inow, to
thanke you.
Mat. But are you indeed. Sir? fo giuen to it? [31] Tnjifa/t^r
Step. I.truely, lir, lam mightily giuen to melancholy.
Mat. Oh, it's your only fine humour, fir, your true «s
melancholy, breeds your perfect fine wit, fir : I am mel-
ancholy ray felfe diuers times, fir, and then doe I no
more but take pen, and pap)er prefently, and ouerflow
you halfe a fcore, or a dozen of fonnets, at a fitting.
{E. Kn. Sure, he vtters them then, by the groffe.) 9°
Step. Truely fir, and I loue fuch things, out of meafure.
E. Kn. I faith, better then in meafure, Ue vnder-take.
Mat. Why, I pray you fir, make vfe of my ftudie,
it's at your feruice.
Step. I thanke you fir, I fhall bee bold, I warrant 95
you ; haue you a ftoole there, to be melancholy' vpon ?
Mat. That I haue, fir, and fome papers there of mine
owne doing, at idle houres, that you'le fay there's fome
fparkes of wit in'hem, when you fee them.
Wel. Would the fparkes would kindle once, and be- 100
come a fire amongst "hem, I might fee felf-loue bum't
for her herefie.
Step. Coufin, is it well ? am I melancholy inough ?
E. Kn. Oh I, excellent !
Wel. Captaine Bobadill : why mufe you fo ? los
E. Kn. He is melancholy, too.
Bob. Faith, fir, I was thinking of a moft honorable
fdece of feniice, was perform'd to morrow, being S'.
Markes day : fhall bee fome ten yeeres, now ?
E. Kn. In what place, Captaine ? na
83 indeed.] indeed, 1640+ 90 [Aside. G 96 melan-
choly'] melancholy 1640+ exc. Ga 103 [Aside. G
n,g,i,7cd by Google
no Euery man in his Humor [ACT II, SC. Ill
Bob. Why at the beleagring of GhibeUetto, where, in
[85] lesse then two houres, feuen hundred refolute gentlemen,
"s as any were in Europe, lolt their hues vpon the breach :
ile tell you gentlemen, it was the firlt, but the belt leai^re
that euer I beheld with theie eyes, except the taking in
of Tortoja laft yeer by the Genowayes, but that (of all
other) was the molt fatall & dangerous exploit, that euer
"" I was rang'd in, lince I firft bore armes before the face
of the enemy, as / am a gentleman and a fouldier.
Step. So, I had as hefe as an angell I could fweare
as well as that gentleman.
Lo. in. Then you were a leruitor at both it feemes.
■IS Bob. Oh Lord fir : by Phaeton I was the firft man that
entred the breach, and had I not effected it with re-
folution, I had bene Haine if I had had a million of lines.
Lo. iu. Indeed fir ?
Step. Nay ft you heard him difcourfe you would fay
<« lo : how like you him ?
Bob. I affure you (vpon my faluation) 'tis true, and
your lelfe fhall confeffe.
Vrofp. You muft bring him to the racke firft.
Bob. Obferue me iudicially fweet fignior : they had
■>s planted me a demy culuering, iuft in the mouth of the
breach ; now fir (as we were to afcend] their mafter gunner
(a man of no meane fkill and courage, you muft thinke)
confronts me with his Linftock ready to giue fire ; I fpying
his intendement, difcharg'd my Petrinell in his bo/ome,
ija and with this inTtrument my poore Rapier, ran violently
vpon the Moores that guarded the ordinance, and put
them pell-mell to the fword.
Prot. To the fword ? to the Rapier fignior.
n,g,i,7cd by Google
ACT III, SCI] Euery Man in his Humour m
Bob, Why, at the beleag'ring of Strigonium, where,
in leffe then two houres, feuen hundred relolute gentle-
men, as any were in Europe, loft their liues vpon the
breach. lie tell you, gentlemen, it was the firft, but the
belt leagure, that euer I beheld, with thefe eies, except "s
the taking in of — what doe you call it, lalt yeere, by the
Genowayes, but that (of all other) was the moft fatall,
and dangerous exploit, that euer I was rang'd in, fince
I firft bore armes before the lace of the enemie, as I am
a. gentleman, * fouldier. no
Step. 'So, I had as hefe, as an angell, I could fweare
as well as that gentleman !
E. Kn. Then, you were a leruitor, at both it feemes !
at Strigonium ? and what doe you call't ?
Bob. Oh lord, fir ? by S. George, I was the firft man, m
that entred the breach : and, had I not effected it with
refolution, I had beene Haine, if I had had a million of hues.
E. Kk. 'Twas pittie, you had not ten ; a cats, and
your owne, ifaith. But, was it poflible ?
(Mat. 'Pray you, marke this difcourfe, fir, ijo
Step. So, I doe.)
Bob. I aWure you (vpon my reputation) 'tis true,
and your felfe fhaU confeffe.
E. Kn. You muft bring me to the racke, firft. [32]
Bob. Obferue me iudicially, fweet fir, they had us
planted mee three demi-culuerings, iuft in the mouth
of the breach ; now, fir (as we were to giue on) their
mafter gunner (a man of no meane skill, and marke,
you muft thinke) confronts me with his hnftock, readie
to giue fire ; I fpying his intendment, difcharg'd my .40
petrionel in his bofome, and with thefe fingle armes, my
poore rapier, ranne violently , vpon theJVf oores, that guarded
the ordinance, and put "hem pell-mell to the fword.
Wel. To the fword ? to the rapier, Captaine ?
izi &fouldier]and a Soldier 1692+ axe. Wh, N, Ga i34[^stJe. G
n,g,i,7cd by Google
112 Euery man in his Humor [actii, sc. iii
Lo. iu. Oh it was a good figure obferu'd lir : but did
■3s you all this fignior without hurtii^ your blade.
Bob. Without any impeach <m the earth : you fhall
perceiue lir, it is the moft fortimate weapon, that euer
rid on a fK)ore gentlemans thigh : thall I tell you lir, you
talke of Morglay, Excaliber. Durindana. or lo : tut, I lend
140 no credit to that is reported of them, I know the vertue
of mine owne, and therefore I dare the boldher main-
taine it.
36] Step. I marie whether it be a Toledo or no ?
'Bob. A moft perfect Toledo, I affiu'e you fignior.
MS 'Sitep. I haue a countriman of his here.
Mat. Pray you let's fee fir: yes faith it is.
B06, This a Toledo ? pifh.
Stef. Why do you pifh fignior ?
Bob. A Fleming by Phahus, ile buy them for a guilder
'SO a peece and ile haue a thoufand of them.
Lo. iit. How fay you coufin, I told you thus much.
Pro/, Where bought you it fignior ?
S>tep. Of a fcuruy rogue Souldier, a pox of God on
him, he fwore it was a Toledo.
ijs 'Rob. A prouant Rapier, no better.
M(ri. Maf/e I thinke it be indeed.
Lo. iu. Tut now it's too late to looke on it, put it
vp, put it vp.
Step. Well I will not put it vp, but by Gods foote,
i«o and ere I meete hJin
Pro/. Oh it is paft remedie now fir, you muft haue
patience.
Step. Horfon conny-catching Rafkall ; oh I could eate
the very hilts for anger.
16s Lo. iu. A figne you haue a good Oftrich ftomack
Coufin.
n,g,i,7cd by Google
ACTIII.SC.I] Euery Man in Us Humour 113
E. Kn. Oh, it was a good figure obferu'd, fir ! but ms
did you all this, Captaine, without hurting your blade.
Bob. Without any impeach, o' the earth : you fhall
perceiue fir. It is the moft fortunate weapon, that euer
rid on poore gentlemans thigh : Ihal I tell you, fir ? you
Xsi^t oiMorglay, Exc(Uibur , Durindana,OT lo ? tut, I lend "s"
no credit to that is fabled of 'hem, I know the vertue of
mine owne, and therefore I dare, the boldlier, maiutaine it.
Step, I raar'le whether it be a Toledo, or no ?
Bob. a moft perfect Toledo, I affure you, fir.
Step. I haue a coimtriman of his, here. <»
Mat, Pray you, let's fee, fir: yes faith, it is!
Bob. This a Toledo ? pifh.
Step. Why doe you pifh, Captaine ?
Bob. a Fleming, by heauen, lie buy them for a
guilder, a piece, an' I wotild haue a thoufand of them. >6a
E. Kn. How fay you, coufin ? I told you thus much ?
Wel. Where bought you it, M'. Stephen ?
Step. Of a fcuruie rogue fouldier (a hundred of lice
gee with him) he fwore it was a Toledo.
Bob. a poore prouant rapier, no better. isj
Mat. Maffe, I thinke it be, indeed ! now I looke on't,
better.
E. K. Nay, the longer you looke on't, the worfe.
Put it vp, put it vp.
Step. Well, I will put it vp, but by — (I ha' forgot .70
the Captaynes oath, I thought to ha' fwome by it) an'
ere I meet him
Wel. O, it is paft helpe now, fir, you muft haue
patience.
Step. Horfon connie-catching raskall I I could eate .7*
the very hilts for anger !
E. Kn. a figne of good digeftion I you haue an oftrich
ftomack, coufin.
148 fir [5A<aii hit rapttr. G
n,g,i,7cd by Google
IZ4 Euery man in his Humor [ACT II. SC. Ill
Step. A ftomack ? would I had him here, you Ihould
lee and I had a ftomacke.
Prof. It's better as 'tis : come gentlemen fhall we goe ?
"Enter Mufco.
■?" Lo. iu. A miracle coufin, looke here, looke here.
Step. Oh, Gods lid, by your leaue, do you know me Ijt.
Mm/. I lir, I know you by fight.
Step. You lold me a Rapier, did you not ?
Muf. Yes marry did I fir.
■7i S^. You laid it was a Toledo ha ?
Muf. True I did lo.
Sfe^. But it is none.
Mu(. No lir, I conlelfe it, it is none.
Step. Gentlemen beare witnefle, he has confelt it.
>»o By Gods lid, and you had not confeft it
[87] Lo. iu. Oh coulin, forbeare, forbeare.
Step. Nay I haue done coulin.
Prof. Why you haue done like a Gentleman, he ha's
confelt it, what would you more ?
'»i Lo. iu. Siira how dooft thou like him.
Prof. Oh its a pretious good foole, make much on
him : J can compare him to nothing more happely, then
a Barbers virginals ; for euery one may play vpon him.
n,g,i,7cd by Google
ACT III, SC. II] Euay Afan in his Humour 115
Step. A (tomack ? would I had him here, you (hould
fee, an' I had a ftomack. '*°
Wel. It's better as 'tis : come, gentlemen, fhall we
goe?
ACT III. SCENE II. |-33]
E. Knowell, Bravne-worme, Stephen,
Well-bred, Bobadill,
Matthew.
A Miracle, coufin, looke here! looke here!
Step. Oh, gods hd, by your leaue, doe you know
me, fir ?
Bray. I lir, I know you, by fight.
Step. You fold me a rapier, did you not ? 5
Bray. Yes, marie, did I fir.
Step. You laid, it was a Toledo, ha ?
Bray. True, I did fo.
Step. But, it is none ?
Bray. No fir, I confelfe it, it is none. «
Step. Doe you confeffe it ? gentlemen, beare wit-
neffe, he has confeft it. By gods will, and you had not
confeft it
E. Kn. Oh coufin, forbeare, forbeare.
Step. Nay, I haue done, coufin. ■>
Wei. Why you haue done Uke a gentleman, he ha's
confeft it, what would you more ?
Step, Yet, by his leaue, he is a rafkall, vnder his
fauour, doe you fee ?
E, Kn. I, by his leaue, he is, and vnder fauour : a »
prettie piece of duilitie ! Sirra, how doeft thou hke him ?
Wel. Oh, it's a moft pretious foole, make much on
him : I can compare him to nothing more happily, then
a drmnme ; for euery one may play vpon him.
E. Kn. No, no, a childes wbiftle were fane the fitter. >s
Entgr Brainworm, diiguiud as befort. G
n,g,i,7cd by Google
Il6 Euery man id his Humor [ACT II, sc. Ill
Af«/. Geiitleman, (hall I intreat a word with you ?
'»° Lo. iu. With all my heart fir, you haue not another
Toledo to fell, haue yee ?
Muf. You are pleafant, your name is fignior Lorenzo
as I take it.
Lo. iu. You are in the ri^ht : S'bloud he meanes to
>9) catechize me / thinke.
Muf. No fir, I leaue that to the Curate, I am none
of that coate.
Lo. iu. And yet of as bare a coate ; well, fay fir.
Muf. Faith fignior, I am but feruant to God Mars
«* extraordinarie, and indeed (this braffe vamifh being wafht
off, and three or foure other tricks fublated) I appeare
yours in reuerfion, after the deceate of your good father,
Mufco.
Lo. iu. Mufco, s'bloud what winde hath blowne thee
«■* hither in this fhape.
M»/. Your Eafterly winde Or, the fame that blew
your father hither.
Lo. iu. My father ?
Mm/. Nay neuer ftart, it's true, he is come to towne
"" of purpofe to feeke you.
Lo. iu. Sirra Vroffero : what fhall we do firra, my
father is come to the city.
Pro/, Thy father : where is he ?
M»/. At a Gentlemans houle yonder by Saint An-
"s thonies, where he but ftayes my retume ; and then
Pro/. Who's this ? JAufco ?
Muf. The lame fir.
Prof. Why how comft thou tranf-muted thus ?
Muf. Faith a deuife, a deuife, nay for the loue of
"* God, Itand not here Gentlemen, houfe your felues and
;88] ile tell you aU.
n,g,i,7cd by Google
ACTIII.SCII] Euery Man in his Humow 117
Bray. Sir, Ihall I intreat a word with you ?
E. Kn. With me, fir ? you haue not another Toledo
to fell, ha' you ?
Bray. You are conceipted, fir, your name is M'.
Kno'well, as I take it ? }■>
E. Kn, You are, i' the right ? you meane not to
proceede in the catechiTme, doe you ?
Bray. No fir, I am none of that coat.
E. Kk. Of as bare a coat, though ? well, fay fir.
Bray. Faith fir, I am but feruant to the drum extra- »
ordinarie, and indeed (this fmokie vamifh being wafht
off, and three or foure patches remou'd) I appeare your
worfhips in reuerfion, after the deceafe of your good
father, Bbayne-worme.
E. Kn. Brayne-worme ! S'hght, what breath of a 40
coniurer, hath blowne thee hither in this fhape.
Bray. The breath o' your letter, fir, this morning :
the fame that blew you to the wind-mill, and your
father after you.
E. Kn. My father ? [43]
Bray. Nay, neuer ftart, 'tis true, he has follow'd
you ouer the field's, by the foot, as you would doe a
hare i' the fiiow.
E. Kn. Sirra, Wel-bred, what fhall we doe, firra ?
my father is come ouer, after me. 5»
Wel. Thy father ? where is he ?
Bray. At luftice Clements houfe here, in Colman-
ftreet, where he but f tales my retume; and then
Wel. Who's this ? Brayne-worme ?
Bray. The lame, fir. ss
Wel. Why how, i' the name of wit, com'ft thou tranf-
muted, thiis ?
Bray. Faith, a deuife, a deuife : nay, for the loue of
reafon, gentlemen, and auoiding the danger, ftand not
here, withdraw, and lie tell you all. «•
35 Bray, [taking E. Know, aside. G 47 field's] fields 1640+
txe. Ga 52 house here,] houfe 1640+ axe. Wh, N, Ga
n,g,i,7cd by Google
Ii8 Euery man in his Humor [ACT in, SC. I
Lo. iu. But art thou lure he will ftay thy retume ?
Mu/. Do I liue £ir ? what a queltion is that ?
Prof. Well weele jworogue his expectation a little :
's "iiufco thou ni2ilt go with vs : Come on Gentlemen : nay
I pray thee (good ralkall) droope not, f'hart and our wits
be lo gowty, that one old plodding braine can out-ftrip
vs all. Lord I befeech thee, may they lie and ftarue in
feme milerable Ipittle, where they may neuer fee the
I" face of any true fpirit againe, but bee perpetually haunted
with fome churck-yard Hobgoblin in feculo feculorum.
M«/. Amen, Amen. Exeunt.
ACTVS TERTIVS.
SCENA PRIMA.
Enter Thorello, and Pifo.
Pi/. He will expect you fir within this halfe houre.
Tko. Why what's a clocke ?
Pif. New Itriken ten.
Tho. Hath he the money ready, can you tell ?
1 Pif. Yes fir, Baptijta brought it yeftemighl.
Tko. Oh that's well : fetch me my cloake. Exit Pifo.
Stay, let me fee ; an hower to goe and come,
I that will be the leaft : and then 'twill be
An houre, before / can difpatch with him ;
"> Or very neare : well, I will fay two houres ;
Two houres ? ha ? things neuer drempt of yet
May be contriu'd, I and effected too.
In two houres abfence : well I will not go.
Two houres; no fleering opportunity
's I will not giue your trecherie that fcope.
n,g,i,7cd by Google
ACT III. sc. Ill] Eaery Man in his Humour 119
Wel. But, art thou fure, he will Itay thy retume ?
Bray. Doe I liue, fir 7 what a queftion is that ?
Wel. Wee'le prorogue his expectation then, a httle ;
Brayne-wohme, thou Ihalt goe with vs. Come on,
gentlemen, nay, I pray thee, fweet Ned, droope not : **
"heart, and our wits be Xo wretchedly dull, that one old
plodding braine can out-ftrip vs all, would we were eene
prert, to make porters of; and feme out the remnant
of our daies, in rAa«»«-ftreet, or at Ca//o»w-houfe key,
in a ciuill warre, againft the car-men. t
Bray. Amen, Auek, Ahek, fay I.
ACT III. SCENE III.
KiTELY, Cash.
\Tt7Hat faies he, Thomas ? Did you fpeake with him ?
Cas. He will expect you, fir, within this halfe
houre.
Kit. Has he the money readie, can you tell?
Cas. Yes, fir, the money was brought in, laft night, s
Kit. O, that's well : fetch me my cloke, my doke.
Stay, let me fee, an houre, to goe and come ;
I, that will be the leaft: and then 'twill be
An houre, before I can difpatch with him;
Or very neere : well, I will fay two houres. ■"
Two houres ? ha ? things, neuer dreamt of yet.
May be contriu'd, I, and effected too.
In two houres abfence : well, I will not goe.
Two houres; no, fleering oportunitie,
I will not giue your fubtiltie that fcope. <>
71 [Exeunt. G The Old Jewry. Kitely'i Warehouse. Enter
Kitely and Cash. G 6 {Exit Cash.
n,g,i,7cd by Google
120 Euery man in his Humor [ACT III, sc. I
Who will not iudge him worthy to be robd.
That fets his doores wide open to a theefe.
And fhewes the felon, where his treafure lyes ?
Againe, what earthy Ipirit but will attempt
[89] To talte the fruite of beauties golden tree.
When leaden fleepe feales vp the dragons eyes ?
Oh beauty is a Protect of fome power,
Chiefely when opwrtimitie attends her :
She will infufe true motion in a ftone,
>9 Put glowing fire in an Icie foule,
Stuffe peafants bofoms with proud Ceesars fpleene,
Powre rich deuice into an empty braine :
Bring youth to foUies gate : there traine him in,
And after all, extenuate his finne.
JO Well, / will not go, / am refolu'd for that.
Goe cary it againe, yet ftay : yet do too,
/ will deferr e it till fome other time.
Enter Tifo.
Fifo. Sir, fignior 'Platano wil meet you there with the
bond.
IS Tho. That's true : by /esu / had cleane forgot it.
/ muXt goe, what's a clocke ?
Pt"/. Paft ten fir.
Tho. 'Hart, then will Frofpero prefently be here too.
n,g,i,7cd by Google
ACT in. sc. Ill] Every Man in his Htmow I2i
Who will not iudge him worthie to be rob'd.
That lets his doores wide open to a thiefe.
And Ihewes the fellon, where his treafure hes ?
Againe, what earthie fpirit but will attempt
To the taXte fruit of beauties golden tree, [36]
When leaden Ileepe leales vp the Dragons eyes ?
I will not goe. Bufineffe, goe by, for once.
No beautie, no ; you are of too good caract.
To be left fo, without a guard, or open !
Your lultre too 'U enflame, at any diltance, 's
Draw courtfhip to you, as a iet doth ftrawes,
Put motion in a ftone, ftrike fire from ice,
Nay, make a porter leap>e you, with his burden !
You muft be then kept vp, dole, and well-watch'd,
For, giue you oportunitie, no quick-fand s=
Deuoures, or Iwallowes fwifter ! He that lends
His wife (if thee be faire) or time, or place ;
Compells her to be falfe. I will not goe.
The dangers are to many. And, then, the dreffing
Is a molt mayne attractiue! Our great heads, ss
Within the citie, neuer were in fafetie.
Since our wiues wore thefe httle caps : lie change 'hem.
He change 'hem, Itreight, in mine. Mine fhall no more
Weare three-pild akomes, to make my homes ake.
Nor, will I goe. I am relolu'd for that. 40
Carry' in my cloke againe. Yet, Itay. Yet, doe too.
I will deferre going, on all occafions.
Cash. Sir. Snare, your fcriuener, will be there with
th 'bonds.
Kite. That's true I foole on me ! I had cleane foi^ot 45
it.Imultgoe. What'saclocke ? Cash. Exchange time, Gx.
Kite. 'Heart, then will Well-bred prefenUy be here,
too,
1640+ 40 [Re-enter Cash with a
n,g,i,7cd by Google
122 Euery man in his Humor [ACT III, SC I
With one or other of his loofe conlorts.
*•> I am a lew, if I know what to fay.
What courfe to take, or which way to relolue.
My braine (me thinkes) is hke an hower-glaffe.
And my imaginations Uke the fands,
Runne dribhng foorth to fill the mouth of time,
4s Still chaung'd with turning in the ventricle.
What were I belt to doe ? it fhalbe fo.
Nay / dare build vpon his lecrecie ? Pi/o.
Pifo. Sir.
Tho. Yet now I haue bethought me to, I wil not.
i" Is Cob within ?
Pi"/. I thinke he be fir.
Tho. But hee'le prate too, there's no talke of him.
No, there were no courfe vpon the earth to this.
If I durft truft him; tut I were fecure,
S5 But there's the queftion now, if he fhould prooue,
[40] Rimarum plenus, then, f'blood I were Rookt.
The ftate that he hath ftood in till this prefent.
Doth promife no fuch change : what fhould I feare then ?
Well, come what will, ile tempt my fortune once,
•• Pifo, thou mayeft deceiue mee, but I thinke thou loueft
mee P,/o.
Pi/o. Sir, if a feruants zeale and hiunble duetie may
bee term'd loue, you are poffeft of it.
Tho. I haue a matter to impart to thee, but thou
ii mult be lecret, Pifo.
Pit. Sir for that
Tho. Nay heare me man ; thinke I efteeme thee well.
To let thee in thus to my priuate thoughts ;
Pifo, it is a thing, fits neerer to my creft.
n,g,i,7cd by Google
ACT III, SC. Ill] Ettery Man in his Humour 123
With one, or other of his loofe conforts,
I am a knaue, if I know what to fay, »<>
What courfe to take, or which way to refolue.
My braine (me thinkes) is Uke an hom^-glalfe.
Wherein, my' imaginations runne, hke ^nds,
Fillirg vp time; but then are tum'd, and tum'd:
So, that I know not what to ftay vpon, ss
And leffe, to put in act. It Ihall be fo.
Nay, I dare build vpon his fecrecie.
He knowes not to deceiue me. Thomas ? Cash. Sir.
Kite. Yet now, I haue bethought me, too, I will not,
Thomas, is Cob within ? Cash. I thinke he be, fir. «o
Kite. But hee'll prate too, there's no fpeech of him.
No, there were no man o' the earth to Thomas,
If I durft trust hira; there is all the doubt.
But, rhould he haue a chinke in him, I were gone.
Loft i' my fame for euer : talke for th' Exchange. «s
The maimer he hath ftood with, till this prelent.
Doth promile no fuch change ! what fhould I feare then ? [36]
Well, come what will. He tempt my fortune, once.
Thomas — you may deceiue me, but, I hope
Your loue, to me, is more Cas. Sir, if a (eruants '"
Duetie, with faith, may be c^dl'd loue, you are
More then in hope, you are poffefs'd of it.
Kit. I thanke you, heartily, Thomas; Gi' me your
hand:
With all my heart, good Thomas. I haue, Thomas, 's
A lecret to impart, vnto you — but
When once you haue it, I muft feale your Ups vp :
(So farre, I tell you, Thomas.) Cas. Sir, for that
Kit. Nay, heare me, out. Thinke, I efteeme you,
Thomas, &>
When, I will let you in, thus, to my priuate.
It is a thing fits, neerer, to my creft.
n,g,i,7cd by Google
124 Euery man in bis Humor [ACT III, sa I
'o Then thou art ware of : if thou fhouldft reueale it
Pt"/. Reueale it fir ?
Tho. Nay, I do not think thou wouldft, but if thou
fhouldft :
Pil- Sir, then I were a villaine :
?5 Difclaime in me for euer if I do.
Tho. He will not fweare : he has fome meaning lure,
Elfe (being vrg'd fo much) how fhould he choofe.
But lend an oath to all this proteftation ?
He is no puritane, that I am certiiine of.
*° What (hould I thinke of it ? vrge him againe,
And in fome other forme : I will do To.
Well Pifo, thou haft fworae not to difclofe ; 1 you did
fweare ?
Pi(. Not yet fir, but I will, lo pleafe you,
»i Tho. Nay' I dare take thy word.
But if thou wilt fweare ; do as you thinke good,
/ am refolu'd without fuch circumftance.
Pi/. By my foules fafetie fir I here proteft.
My tongue fhaU ne're take knowledge of a word
9° Deliuer'd me in compaffe of your tnift,
Tho. Enough, enough, thefe ceremonies need not,
I know thy faith to be as firme as braffe.
Pi/o come hither : nay we muft be clofe
In managing thefe actions : So it is,
9i (Now he ha's fwome 1 dare the fafelier fpeake ;)
[41] I haue of late by diuers obfeniations
But, whether his oath be lawfull yea, or no, ha ?
I will afke counfel ere I do proceed;
n,g,i,7c.dbyG00'^lc
ACTIILSCIii] Euery Man in his Humour 125
Then thou art ware of, Thomas. If thou IhouldTt
Reueale it, but Cas. How ? I reueale it ? Kit.
Nay, »s
I doe not thinke thou would'ft ; but if thou fhould'ft :
'Twere a great weakenelfe. Cas, A great trecherie.
Giue it no other name. Kit. Thou wilt not do't, then ?
Cas. Sir, if 1 doe, mankind difclaime me, euer.
Kit. He will not fweare, he has fome referuation, »»
Some conceal'd purpofe, and clofe meaning, Xure :
Eife (being vrg'd fo much) how fhould he choofe,
But lend an oath to all this protestation ?
H' is no precifian, that I am certaine of.
Nor rigid Rowian-catholike. Hee'll play, • m
At Fayles, and Tick-tack, I haue heard him fweare.
What fhould I thinke of it ? vrge him againe, •
And by fome other way ? I will doe fo.
Well, Thomas, thou haft fwome not to difclofe;
Yes, you did fweare ? Cas. Not yet, fir, but I will, i»
Pleafe you Kit. No, Thomas, I dare take thy word.
But ; if thou wilt fweare, doe, as thou thinkf't good ;
I am refolu'd without it ; at thy pleafure.
Cas. By my foules fafetie then, fir, I proteft.
My tongue fhall ne're take knowledge of a word, "s
Dehuer'd me in nature of yoiu" truft.
Kit. It's too much, thefe ceremonies need not,
I know thy faith to be as firme as rock.
Thomas, come hither, neere : we cannot be
Too priuate, in this bufineffe. So it is, no
(Now, he ha's fwome, I dare the fafeUer venter)
I haue of late, by diuers obfeniations —
(But, whether his oath can bind him, yea, or no'.
Being not taken lawfully ? ha ? fay you ?
I will aske counfell, ere I doe proceed :) [87]
III [Aside. G 115 {Aside. G
n,g,i,7cd by Google
126 Euery man in his Humor [ACT III, sc I
Fifo, it wiil be now too long to ftay,
■™ Wee'le Tpie lome fitter time foone, or to morrow.
P(/. At your pleafure fir.
Tho. I pray you learch the bookes gainlt I retume
For the receipts twixt me and Platano.
PH. I wiU fir.
"■s Tho. And heare you; if my brother Vrofpero
Chance to bring hither any gentlemen
Ere I come backe : let one ftraight bring me word.
Pi/- Very well lir.
Tho. Forget it not, nor be not you out of the way.
■'■ Pt/. I will not fir.
Tho. Or whether he come or no, if any other,.
Stranger or els ? faile not to fend me word.
• Pi/. Yes fir.
Tho. Haue care I pray you and remember it.
"» Pi/. I warrant you fir.
Tho. But Pi/o, this is not the lecret I told thee of.
Pi/. No fir, / fuppofe fo.
Tho. Nay beleeue me it is not.
Pi/. / do beleeue you fir.
■" Tho. By heauen it is not, that's enough.
Manie,/ would not thou Ihouldf t vtter it to any creature liu-
ing, Yet I care not.
Well, / muft hence : Pi/o conceiue thus much.
No ordinarie perfoo could haue drawne
"s So deepe a fecret from me; / meajie not this.
But that / haue to tell thee: this is nothing, this.
Pi/o, remember, filence, buried here :
No greater hell then to be flaue to feare. Exit Tho.
Pifo. Pi/o, remember, filence, buried here :
'3» Whence fhould this flow of paffion (trow) take head ? ha ?
n,g,i,7cd by Google
ACTIU.SCIII] Euery Man in his Hmiottr 127
Thomas, it wiJl be now too long to Itay,
Be fpie fome fitter time foone, or to morrow.
Cas. Sir, at your pleafure ? Kit. I will thinke.
And, Thoicas,
I pray you fearch the boolces' gainft my retume, "
For the receipts' twist me, and Traps. Cas. I will, fir.
Kit. And heare you, if your mil tris brother, Welsred,
Chance to bring hither any gentlemen,
Ere I come backe ; let one ftraight bring me word.
Cas. Very well, fir. Kit. To the Exchange ; doe ■'
you heare ?
Or here in Co/fMaM-ftreet, to luftice Clehents.
Foiget it not, nor be not out of the way.
Cas. I will not, fir. Kit. Ijaayyouhaueacareon't.
Or whether he come, or no, if any other, ■;
Stranger, or eife, faile not to fend me word.
Cas. Ifhallnot.fir. Kit. Be'tyourfpedallbufineffe
Now, to remember it. Cas. Sir. I warrant you.
Kit. But, Thomas, this is not the (ecret, Thomas,
I told you of. Cas. No, fir. I doe fuppofe it. ■:
Kit. Beleeueme.itisnot. Gas. Sir. Idoebeleeueyou.
Kit. Byheauen,itisnot,tbat'senotigh. But, Thomas.
I would not, you fhould vtter it, doe you fee ?
To any creature huing, yet, I care not.
Well, I muft hence. Thomas, conceiue thus much.
It was a tryall of you, when I meant
So deepe a fecret to you, I meane not this.
But that I haue to tell you, this is nothing, this.
But. Thomas, keepe this from my wife, I charge you,
Lock'd vp in filence, mid-night, buried here. >'
No greater hell, then to be flaue to feare.
Cas. Lock'd vp in filence, mid-night, buried here.
Whence fhould this floud of paffion (trow) take head ? ha ?
146 [Exit. G
n,g,i,7cd by Google
128 Eu«y man in his Humor [ACT III, SCI
Faith ile dreame no longer of this running humor,
[42] For feare I finke, the violence of the ftrearae
Alreadie hath transported me lo farre.
That I can feele no ground at all : but foft. Enter Cob.
»3) Oh it's our waterbearer: fomewhat ha's croft him now.
Cob. Fafting dayes : what tell you me of your faJting
dayes ? would they were all on a light fire for mee : they
fay the world fhall be conlum'd with fire and brimftone
in the latter day : but I would we had thefe ember weekes,
'*" and thefe villanous fridaies burnt in the meane time,
and then
Pil. Why how now Cob, what moues thee to this
choUer ? ha ?
Cob. Coller fir? fwounds I fcome your coller, I fir
>♦> am no coUiers horfe fir, neuer ride me with your coller,
and you doe, ile ihew you a iades tricke.
Pil. Oh you'le flip your head out of the coller : why
Cob you miftake me.
Cob. Nay I haue my rewme, and I be angrie as well
'S" as another, fir.
Pi{. Thy rewme ; thy humor man, thou miftakeft.
Cob. Humor ? macke, I thinke it bee fo indeed : what
is this humor ? it's fome rare thing I warrant.
Pi/o. Marrie ile tell thee what it is (as tis generally
>ss receiued in thefe daies) it is a monfter bred in a man by
felfe loue, and affectation, and fed by folly.
Cob. How ? muft it be fed ?
Pi/. Oh I, humor is nothing if it be not fed, why,
didft thou neuer heare of that ? it's a common phrafe,
i&j psgd tny humor.
Cob. lie none on it : humor, auaunt, I know you not.
n,g,i,7cd by Google
ACT III. sc IV] Eufry Man in his Humour 129
Belt, dreame no longer oJ this running humour.
For feare I finke I the violence of the ftreame ■:
Alreadie hath tranfported me lo farre.
That I can feele no ground at all ! but foft.
Oh, 'tis our water-bearer : fomewhat ha's crolt him, now.
ACT III. SCENE nil.
Cob, Cash.
"PAlting dayes ? what tell you me of fafting dayes ?
S'hd, would they were all on a light fire for me : They
fay, the whole world fhall bee confum'd with fire one
day, but would I had thefe ember-weekes, and villanous
fridayes burnt, in the meane time, and then i
Cas. Why, how now Cob, what moues thee to this
choller ? ha ?
Cob. Collar, mafter Thomas ? I fcome your collar, [j
I fir, I am none 0' your cart-horle, though I carry, and
draw water. An' you offer to ride me, with your collar, «
or halter either, I may hap fhew you a jades trick, fir.
Cas. O, you'll fhp your head out of the collar ? why,
goodman Cob, you miftake me.
Cob. Nay, I haue my rewme, & I can be aogrie as
well as another, fir. <j
Cas. Thy rewme. Cob ? thy humour, thy humour ?
thou miftak'ft.
Cob. Humour ? mack, I thinke it be fo, indeed : what
is that humour 7 fome rare thing, I warrant.
Cas. Mary, lie tell thee. Cob : It is a gentleman-like «
monfter, bred, in the fpeciall gallantrie of our time, by
afiectation ; and fed by folly.
Cob. How ? mult it be fed ?
Cas. Oh I, humour is nothing, if it bee not fed.
Didft thou neuer heare that ? it's a conunon phrafe, n
Feed my humour.
Cob. He none on it : Humoiu', auant. I know you
Enlir Cob hastily. G
n,g,i,7cd by Google
130 Euery man in his Humor [ACT III, sc. I
be gon. Let who wiD make hungry meales for you, it
fliaU not bee I : Feed you quoth he ? f'blood I haue much
adoe to feed my felf, efpecially on thefe leane rafcall
>*s daies too, and't had beene any other day but a fafting
day : a plague on them all for mee : by this light one
might l^ue done God good feruice and haue drown'd
them al in the floud two or three hundred thoubnd yeares
ago, oh I do Itomacke them hugely : I haue a mawe now
tjo and't were for fir Beuiffes horfe.
[48] Pi/. Nay, but I pray thee Cob, w^at makes thee fo
out of loue with fafting daies ?
Cob. Marrie that, that will make any man out of loue
with them, / thinke : their bad conditions and you wil
■?5 needs know : Firft, they are of a Flemmifh breed I am
lure on't, for they rau6 vp more butter, then all the daies
of the weeke befide : next, they ftinke of fifh miferably :
Thirdly, they'le keep a man deuoutly hungry all day,
& at night fend him fupperlelfe to bed.
■»" Pt/. Indeed thefe are faults Cob.
Cob. Nay and this were all, 'twere fomething, but
they are the onely knowne enemies to my generation.
A fafting day no (ooner comes, but my lineage goes to
racke, poore Cobbes they fmoake for it, they melt in
iBs paflitm, and your maides too know this, and yet would
haue me tume Hannibal, and eat my owne fifh & blood : *'"f^'^
my princely couzc, feare nothing ; I haue not the heart Herring.
to deuoure you, and I might bee made as rich as Golias :
oh that I had roome for my teares, I could weep fait
■»° water enoi:^h now to prelerue the lines of ten thoufand
of my kin : but I may curfe none but thefe filthy Alma-
nacks, for and't were not for them, thefe daies of perle-
cution would ne're bee knowne. He be hang'd and fome
Filhmongers fonne doe not make on'them, and puts in
'9s more fafting daies then hee fhould doe, becaufe he would
vtter his fathers dried ftockfilh.
187 my princely] "my priocaly B
n,g,i,7cd by Google
ACT in. sc IVJ Emry Man in his Humour 131
not, be gone. Let who will make hungrie meajes for
your monlter-Ihip, it fliall not bee I. Feed you, quoth
he ? Slid, I ha' much adoe, to feed my felfe ; eXpecially, y
(H) thefe leane rafcally dayes, too ; and't had beene any
other day, but a faJting-day (a plague on them all for
mee) by this light, one mi^t haue done the common-
wealth good leniice, and haue drown'd them all i' the
fioud, two or three hundred thouland yeeres agoe. O, »
I doe Itomack them hugely ! I haue a maw now, and't
were for S' Bevis his horle, againXt "hem.
Cas. I pray thee, good Cob, what makes thee fo out
of loue with fafting-dayes ?
Cob. Mary that, which will make any man out of loue «>
with 'hem, I thinke : their bad conditions, and you will
needs know. Firft, they are of a Flemmijh breed, I am fure
on't, for they rauen vp more butter, then all the dayes of
the weeke, befide; next, they ftinke of fifli, and leeke-
porridge miferably : thirdly, they'le keepe a man deuoutly «;
hungrie, all day, and at night fend him fupperlelfe to bed.
Cas. Indeed, thele are faults. Cob.
Cob. Nay, and this were all, 'twere Xomething, but
they are the only knowne enemies, to my generation.
A fafting-day, no tooner comes, but my lineage goes to s"
racke, poore cobs they fmoke for it, they are made
martyrs o' the gridiron, they melt in paffion : and your
matdes too know this, and yet would haue me tume
//f fuiis Hannibal, and eate my owne fifli, and bloud : My prin-
k„r,ng. "^s'y couz. f^ar nothing ; I haue not the hart to deuoure »
you, * I might be made as rich as King Cophetva.
0, that I had roome for my teares, I could weepe falt-
water enough, now, to preferue the hues of ten thoufand
of my kin. But, I may curfe none but thefe filthie
Altnanacks, for an't were not for them, thefe dayes of 6..
perfecution would ne'rc be knowne. He bee hang'd, an'
fome Fith-mongers tonne doe not make of hem ; and puts
in more faftii^-dayes then be fbould doe, becaufe hee
would vtter his fathersdryed ftock-fifh, and Itinking conger.
54 fish] flesh 1716+ exe. N, H, Ga
n,g,i,7cd by Google
132 Euery man in his Humor [ACTIII, SCII
Pt'/. S'oule peace, thou'lt be beaten Enter Matheo,
like a Xtockfifh eUe : here is Signior "Proipero, Lo. i^-
Matheo. Nowmuftllookeoutforamel- nior, BobadiUa,
™ fengertomyMalter. Exeunt Cob S-Pifo. Stephano,Mufco.
SCENA SECVNDA.
Prof. Befhrew me, but it was an absolute good ieft,
and exceedingly well caried.
Lo. iu. I and our ignorance maintained it as well, did
it not ?
s Prof. Yes faith, but was't poflible thou fhould'ft
not know him ?
Lo. ill. Fore God not I, and I might haue beene ioind
patten with one of the nine worthies for knowing him.
S'blood man, he had fo writhen himfelfe into the habit
[44] of one of your poore Dilparuiew's here, your decaied,
ruinous, worme-eaten gentlemen of the round : fuch as
haue vowed to fit on the fldrts of the city, let your
Prouoft & his half dozen of halberders do what they
can ; and haue tranflated begging out of the olde hackney
'5 pace, to a fine eafy amble, and made it runne as fmooth
of the toung, as a Ihoue-groat Hulling, into the likenes
of one of thefe leane Virgo's, had hee moulded himfelfe
fo perfectly, obferuing euerie tricke of their action, as
varying the accent : fwearing with an Emphafis. Indeed
» all with fo fpeciall and exquilite a grace, that {hadft thou
feene him) thou wouldft haue (wome he might haue beene
the Tamberlaine, or the Agamemnon on the rout.
Pros. Why Mufco : who would haue thought thou
hadit beene fuch a gallant ?
'i Lo. iu. I cannot tell, but (vnles a man had iug^led
n,g,i,7cd by Google
ACTIII, sav] Euery Man in his Humow 133
Cas. S'light, peace, thou'It bee beaten like a (tock- ss
fifli, elfe : here is M' Matthew. Now mult I looke out
for a mellenger to my maXter,
ACT III. SCENE V. [39
Weix-bred, Ed. Kno'well, Brayne-worme.
BoBADiLL, Matthew, Stephen,
Thomas, Cob.
"DEIhrcw me, but it was an ablolute good ielt, and
exceedingly well carried!
E. Kno. I, and our ignorance maintain'd it as well,
did it not ?
Wel. Yes faith, but was't poffible thou fhould'ft not s
know him ? I forgiue M'' Stephen, for he is ftupiditie
it felfe!
E. Kn. 'Fore god, not I, and I might haue been
ioyn'd patten with one of the feuen wife mafters, for
knowing him. He had fo writhen himfeUe, into the »
habit of one of your poore Infanterie, your decay'd,
ruinous, worme-eaten gentlemen of the round : fuch as
haue vowed to fit on the skirts of the dtie, let your
Prouoft, and his halfe-dozen of halberdeirs doe what they
can ; and haue tranflated begging out of the old hackney -s
pace, to a fine eafie amble, and made it runne as Imooth,
of the tongue, as a Ihoue-groat fhilling. Into the hke-
nefle of one of thefe Reformado's had he moulded him-
felfe fo perfectly, obferuing euery tricke of their action, as
varjTug the accent, {wearing with an emphafis, indeed all, »
with fo (peciall, and exquifite a grace, that (hadf t thou feene
him) thou would'It haue fwome, he might haue beene
Serieant-Afutw, if not lAeutenant-Coronell to the regiment.
Wel. Why, Brayne-wobme, who would haue thought
thou hadft beene fuch an artificer ? '>
E. Kn. An artificer ? An architect ! except a man
66 Matthew [Enbr Welibred, E. KnoweU, Brainworm, Mathew, and
Stephen. G All reprints of G insert Bobadill. 67 [Exit with Cob. G
n,g,i,7cd by Google
134 Euery man in his Humor [ACTlll. scil
b^giog all his life time, and beene a weau^ of phrafes
from his in&nde, for the appairelling of it) I thinke the
world cannot produce his Riuall.
Pro/. Where got'It thou this coat I maxre.
3° M«/. Faith iir, I had it of one of the deuils neere
kinlmen, a Broker.
Pro/. That cannot be, if the prouerbe hold, a craftie
knaue needs no broker.
M«/. True fir, but I need a broker. Ergo no crafty
IS knaue.
Pro/. Well put off, well put off.
Lo. iu. Tut, he ha's more of theXe fhifts.
M«/. And yet where I haue one, the broker ha's
ten fir.
Enter Pijo.
*•> Pt/o. Francifco : Martino : ne're a one to bee found
now, what a fpite's this ?
Pro/. How now Pifo ? is my brother within ?
Pi/. No fir, my matter went forth e'ene now: but
Signior Giuliano is within. Cob, what Cob : is he gcme too ?
*5 Pro/. Whither went thy malter ? P»/o canft thou
teU?
Pt/o. / know not. to Doctor Clements, I thinke fir.
Cob. Exit Vifo.
[45] Lo. iu. Doctor Clement, what's he ? I haue heard much
i" fpeech of him.
Pro/. Why, doeft thou not know him ? he is the Gon-
falionere of the Itate here, an excelleait rare ciuilian, and
a great fcholler, but the onely mad merry olde fellow in
Europe : I fhewed him you the other day.
is Lo. in. Oh I remember him now ; Good faith, and he
hath a very ftrange prefence me thinkes, it fhewes as if
he ftoode out of the ranke from other men. I haue heard
many of his iefts in Padua ; they fay he will commit a
man for taking the wall of his horfe.
n,g,i,7cd by Google
ACTUI.SCV] Euery Man in his Humow 135
bad Xtudied begging all bis life-time, and beene a weauer
of language, from his infancie, for the clothing of it !
I neuer law his liuall.
Wel. Where got'It thou this coat, I marl'e ? y
Bhav. Of a Hounds-ditch man, fir. One of the deuil's
neere kinfmen, a broker.
Wel. That cannot be, if the prouerbe hold; for, a
craftie knaue needs no broker.
Bray. True fir, but I did need a broker, Ergo. as
Wel. (Well put off) no craftie knaue, you'll fay.
E. Kn. Tut, he ha's more of thefe fhifts.
Bray. And yet where I haue one, the broker ha's
ten, fir,
Tho. Francis, Martin, ne're a one to be found, *"
now ? what a fpite's this ?
Wel. How now, Thouas ? is my brother Kitely,
within ?
Tho. No fir, my mafter went forth eene now: but
matter Downe-right is within. Cob, what Cob ? is he ■*!
gone too ?
Wel, Whither went your mafter ? Thomas, canft
thou tell ?
Tho. I knownot, to lufticeCLEMENTS, I thinke, fir. Cob.
E. Kn. luftice Clement, what's he ? [40]
Wel. Why, doeft thou not know him ? he is a citie-
magiftrate, a luftice here, an excellent good Lawyer,
and a great Icholler : but the onely mad, merrie, old
fellow in Europe ! I fhew'd him you, the other day.
E. Kn, Oh, is that he ? I remember him now. Good ss
faith, and he ha's a very ftrange prefence, mee thinkes ;
it Ihewes as if hee ftood of the ranke, from other men :
I haue heard many of his iefts i' vniuerjitie. They fay,
he will commit a man, for taking the wall, of his horfe.
39 fir,] Sir. 1640 39 [Re-anter Cash. G 49 [Eitit. C.
36 he ha's] he ia G, H 58 i*] 1 the 1640+ exc. Wh, Ga
n,g,i,7cd by Google
136 Euery man in his Humor [ACTlll, SC. II
*" Proj. I or wearing his cloake of one flioulder, or any-
thing indeede, if it come in the way of his humor.
Pi/. Gafper, Martino, Cob : S'hart, where fhould they
be trow?
Enter Pijo.
Bob. Signior Thorello's man, I pray thee vouchsafe
*» vs the hghting of this match.
Pt/. A pox on your match, no time but now to vouch-
fafe ? Francifco, Cob. Exit.
Bob. Body of me : here's the remainder of feuen pound,
lince yefterday was Xeuennight. It's your right Trini-
T' dado : did you neuer take any, fignior ?
Step. No truly fir ? but i'le leame to take it now,
fince you commend it fo.
Bob. Signior beleeue me, (vpon my relation) for what
I tel you, the world shall not improue, I haue been in
" the Indies (where this herbe growes) where neither my
felfe, nor a dozen Gentlemen more (of my knowledge)
haue receiued the tafte of any other nutriment, in the
world, for the fpace of one and twentie weekes, but Ta-
bacco onely. Therefore it cannot be but 'tis moft diuine.
^ Further, take it in the nature, in the true kinde fo, it
makes an Antidote, that (had you taken the moft deadly
poyfonous limple in all Florence, it fhould expell it, and
clarifie you, with as much eafe, as I fpeak. And for your
greene wound, your Ballamum, and your are all meere
as gulleries, and trafh to it. efpecially your Trinidado : your
Newcotian is good too : I could fay what I know of the
[46] vertue of it, for the expofing of rewmes, raw hiunors,
crudities, obftructions, with a thouland of this kind ; but
I profeffe my felfe no quack-faluer : only thus much : by
9" Hercules I doe holde it. and will affirme it (before any
Prince in Europe) to be the moft Xoueraigne, and pretious
herbe, that euer the earth tendred to the vfe of man.
wouad w
' wound, B, W»
n,g,i,7cd by Google
ax;T III, sc V] Euery Man in his Humour 137
Wel. I, or wearing his cloke of one fhoulder, or*"
leruing of god : any thing indeed, if it come in the way
of his hiuoour.
^''Lf^ Cas. Gasper, Martin, Cob : Tieart, where fhould
caiimg. they be, trow ?
Bob, Mafter Kitely's man, 'pray thee vouchfafe vs *s
the lighting of this match.
Cas, Fire on your match, no time but now to vouch-
fafe ? Francis. Cob.
Bob. Bodie of me I here's the remainder of feuen
fK>mid, lince yefterday was Xeuen-night. 'Tis your right t>
Trinidado I did you neuer take any, mafter Stephen ?
Step. No tniely, fir ? but I'le leame to take it now,
fince you commend it, fo.
Bob. Sir, beleeue mee (vpon my relation) for what
I tell you, the world fhal not reproue. I haue been in 's
the Indies (where this herb growes) where neither my
felfe, nor a dozen gentlemen more (of my knowledge)
haue receiued the taft of any other nutriment, in the
world, for the fpace of one and twentie weekes, but the
fume of this limple onely. Therefore, it cannot be, but »=
'tis moft diuine ! Further, take it in the nature, in the
true kind fo, it makes an antidote, that (had you taken
the moft deadly poyfonous plant in all Italy, it fhould
expell it, and clarifie you, with as much eafe, as I fpeake.
And, for your greene wound, your Balfamum, and your «5
S'. John's woort are all mere guileries, and traih to it,
efpecially your Trinidado : your Nicotian is good too.
■ I could fay what I know of the vertue of it, for the
expulfion of rhewmes, raw humours, crudities, obltruc-
tions, with a thoufand of this kind ; but I profeffe my 9=
feUe no quack-faluer. Only, thus much, by Hercules,
I doe hold it, and will affirme it (before any Prince in
Europe) to be the moft fouermgne, and precious weede,
that euer the earth tendred to the vfe of man.
6oof]oni69a+*M.Wli, Ga 6t[R»-enUrC9.aii.G 6S[Exil.G
n,g,i,7cd by Google
138 Euery man in his Humor [ACT III. sc II
Lo. iu. Oh this fpeech would haue done rare in a
pothecaries mouth.
9s Pi/. I : dole by Saint AtUhonies : Doctor Clements.
Enter Vifo and Cob.
Cob. Oh, Oh.
Bob. Where's the match I gaue thee ?
Fif. S'blood would his match, and he, and pipe, and
all were at Sancto Domingo. Exit.
■"» Cob. By gods deynes : I marie what pleaiure or feli-
citie they haue in taking this rogiib Tabacco : it's good
for nothing but to choake a man, and fill him full of
fmoake, and imbers : there were foure died out of one
houle laft weeke with taking of it, and two more the bell
"s went for yelter-night, one of them (they fay) will ne're
fcape it, he voyded a bufhell of foote yelter-day, vpward
and downeward. By the ftockcs; and there were no
wifer men then I, I'ld haue it prefent death, man or
woman, that fhould but deale with a Tabacco pipe;
"" why, it will ftifle them all in the'nd as many as v(e it ;
it's Uttle better then rats bane. Knter Pifo.
AU. Oh good fignior ; hold, hold.
Bob. You bale culhon, you.
Pt/. Sir, here's yow match ; come, thou muft needes
"s be talking too.
Cob. Nay he wil not meddle with his match I warrant
you : well it fhall be a deere beatii^, and I hue.
Bob. Doe you prate ?
Lo. iu. Nay good fignior, will you regard the humor
••» of a foole ? away knaue. Exit Pt'/o, and Cob.
Frof. Vifo get him away.
Bob. A horfon filthy Oaue, a turd, an excrement.
[47] Body of Cefar, but that I fcome to let forth fo meane
a (pint, i'ld haue ftab'd him to the earth.
n,g,i,7cd by Google
ACT III, SC V] Euery Man in his Humour 139
E. Kn. This fpeech would ha' done decfitly in a /a- «
bacco-ixaAtis mouth 1
Cas. At luftice Clements, hee is : in the middle of
Co/mnn-ftreet.
Cob. O, oh ?
Cob. Where's the match I gaue thee ? Malter Kite- ™
UES man ?
Cas. Would his match, and he, and pipe, and all
were at Sakcto DouingoI I had foi^ot it.
Cob. By gods raee, I marie, what pleafure, or feU-
citie they haue in takii^ this roguilh tabacco I it's good '"^
for nothing, but to choke a man, and fill him full of
fmoke, and embers : there were foure dyed out of one
houfe, laft weeke, with taking of it, and two more the
bell went for, yefter-night ; one of them (they fay) will
ne're fcape it : he voided a bufhell of foot yefter-day, '">
vpward, and downewarxl. By the ftocks, an' there were
no wifer men then I, I'ld haue it prefent whipping, man,
or woman, that fhould but deale with a /n&occo-pipe ;
why, it will ftifle them all in the end, as many as vfe
it; it's little better then rats bane, or rofaker. "s
All. Oh, good Captayne, hold, hold.
Bob. You bate culhon, you. ^^L«
Cas. Sir, here's your match : come, thou muft needs«<«aeurf-
be talking, too, tho'art well inough feni'd. **""
Cob. Nay, he will not meddle with his match, I ■«>
warrant you : well it fhall be a deare beating, and I hue.
Bob. Doe you prate ? Doe you raurmure ?
E. Kn. Nay, good Captayne, will you regard the
humour of a foole ? away, knaue.
Wel. Thoicas, get him away. ns
Bob. ' A horfon filthie flaue, a dung-worme, an ex-
crement! Body o' Caesar, but that I fcome to let
forth fo meane a fpirit, I'M ha' ftab'd him, to the earth.
96 [Ri-tnter Cub with Cob. G 103 [Exit. G 117 [St-
enttr Cash. G laj [Exit Cash with Cob. G
n,g,i,7cd by Google
140 Euery man in his Humor [ACTIII.SCII
"5 Prof. Mary God forbid fir.
Bob. By this faire heauen I would haue done it.
Sup. Oh he Iweares admirably : (by this faire heauen :)
Body of Cf/«f : I fhall neuer doe it, fure (vpon my fal-
uation) no I haue not the right grace.
'3= Mat. Signior will you any ? By this ayre the molt
diuine Tabacco as euer I drunke.
Lo. iu. I thanke you fir.
Step. Oh this Gentleman doth it rarely too, but
nothing like the other. By this ajrre, as I am a Gentle-
'sj man : by Phaibus. Exit Bob. and Mat.
Mus. Mafter glaunce, glaunce : Signior Proffero.
Step. As I haue a foule to be faued, I doe proteft ;
Prof. That you are a foole.
Lo. iu. Coulin will you any Tabacco ?
'** Step. I lir : vpon my faluation.
Lo. iu. How now coufin ?
Step. I proteft, as I am a Gentleman, but no louldier
indeede.
Pro}. No fignior, as I remember you feru'd on a great
MS horle, lalt generall mufter.
Step. I fir that's true : coufin may I fweare as I am
a louldier, by that ?
Lo. iu. Oh yes, that you may.
Step. Then as I am a Gentleman, and a fouldier, it
'JO is diuine Tabacco.
Pro}. But loft, Where's fignior Matheo ? gone ?
Muf. No fir, they went in here.
Proj. Oh let's follow them : fignior Matheo is g<nie to
falute his miftrelfe, firra now thou fhalt heare fome of
■ss his verfes, for he neuer comes hither without lome ihreds
of poetrie : Come fignior Stephana, Mufco.
Step. Mufco ? where ? is this Mufco ?
n,g,i,7cd by Google
ACTI1!,SC.V] Ettery Man in his Humour 141
Wel. Mary, the law forbid, fir.
Bob. By Pharoahs foot, I would haue done it. 'j=
Step. Oh, be fweares admirably I (by Pharoahs foot)
(body of Caesar) I fhall neuer doe it, fure (vpon mine
honor, and by Saint George) no, I ha' not the right grace.
Mat. Matter Stephen, will you any ? By this aire,
the moft diuine tabacco, that euer I dnmke ! us
Step. None, I thanke you, fir. O, this gentleman
do's it, rarely too ! but nothing like the other. By this
aire, as I am a gentleman : by
Bray. Mafter, glance, glance ! Mafter WELt-BRED !
Step. As I haue lomewhat to be faued, I proteft mo
Wel. You are a foole : It needs no affidavit. Mtater sttpktn
E. Kn. Coufin, will you any tabacco ? "o^or posf.^
Step. I fir ! vpon my reputation
£. Kn. How now, coufin I
Step. I jwoteft, as I am a gentleman, but no louldier, '*5
indeed
Wel. No, Matter Stephen ? as I remember your
name is entred in the artillerie garden ?
Step. I fir, that's true : Coufin, may I fwear, as I
am a fouldier, by that ? '9°
E. Kn. Of yes, that you may. It's all you haue for
your money.
Step. Then, as I am a gentleman, and a fouldier, it
is diuine tabacco !
Wbl. But foft, Where's M'. Matthew ? gone ? 'si
Bray. No, fir, they went in here.
Wel. O, let's follow them : mafter Matthew is gone
to falute his miftris, in verfe. Wee fhall ha' the happi
neffe, to heaxe fomc of his poetrie, now. Hee neuer
comes vnfumifh'd. Brayne-worme ? ■*»
Step. Brayne-worme ? Where ? Is this Brayne- [42J
WORHE ?
131 admirably] most admirably 1640+ «xc. G 138 aire
[praeHat* at iA« post G [38 [Bxnrnt Bob. and Mat. G 139 Bray.
{pointing to masttr Siaphtn. G
n,g,i,7cd by Google
142 Euery man in his Humor [ACT 111, SC. Ill
Lo. iu. I, but peace coufiD, no words of it at any hand.
[48] S^^. Not I by this faire heauen, as I haue a (oule to
■«• be faued, by Pkxbus.
Pro/. Oh rare ! your coufins diXcourfe is limply luted,
all in oatbes.
Lo. iu. I, he lacks no thing but a little hght Itufie, to
draw them out withall, and he were rarely fitted to the
i«s time. Exeunt.
ACTVS TERTIVS, SCENA TERTIA.
Enter Thorello with Cob.
Tho. Ha, how many are there, fayeXt thou ?
Cob. Marry fir, your brother, Signior Profpero.
Tho. Tut, belide him : what ftrangers are there man ?
Cot. Strangers ? let me fee, one, two ; mafXe I know
* not well there's fo many.
Tho. How ? fo many ?
Cob. I, there's fome fine or fixe of them at the moft.
Tho. A fwarme, a fwarme,
Spight of the DeuiU, how they fting my heart J
<• How long haft thou beene comming hither Cob ?
Cob. But a Uttle while fir.
Tho. Didft thou come running ?
Cob. No fir,
Tho. Tut, then I am famihar with thy hafte.
'i Bane to my fortunes : what meant / to marxie ?
I that before was rankt in fuch content,
My mind attir'd in fmoothe filken peace.
Being free mafter of mine owne free thoughts.
And now become a flaue ? what, neuer figh,
•• Be of good cheare man : for thou art a cuckold.
n,g,i,7cd by Google
ACT III, sc. VI] Euery Man in fas Humour 143
E. Kn. I, coufin, no wordes of it, vpon your gentilitie.
Step. Not I, body of me, by this aire, S. George,
and the foot of Pharoau.
Wel. Rare ! your coufins diXcourfe is fiiuply drawn '*i
out with oathes,
E. Kn. Tis larded with "hem. A kind of french
dreffing, if you loue it.
ACT 111. SCENE VI.
KiTELY, Cob.
T_TA ? how many are there, fayeft thou ?
Cob. Mary fir, your brother, maJterWELL-BHEt) —
Kit. Tut, befide him ; what Xtrangers are there, man ?
Cob. Strangers ? let me fee, one, two ; malXe I know
not well, there are fo many. s
Kit. How? so many?
Cob. I, there's (ome flue, or fixe of them, at the molt.
Kit. a fwarme, a Iwarme,
Spight of the deuill, how they fting my head
With forked Itings, thus wide, and large I But, Cob, "
How long haft thou beene commii^ hither. Cob ?
Cob. a httle while, fir.
Kit. Did'ft thou come running ?
Cob. No, fir.
Kit. Nay, then I am familiar with thy hafte I <s
Bane to my fortunes : what meant I to marry ?
I, that before was rankt in fuch content.
My mind at reft too, in fo foft a peace,
Being free mafter of mine owne free thoughts,
And now become a flaue ? What ? aeuex Sigh, «>
Be of good cheere, man : for thou art a cuckold.
168 [£xMiw(. G Colemaa-stieet. A Room in Justice Cle*
meat's HouM, G
n,g,i,7cd by Google
144 Eoery man in his Humor [ACT HI, SC. Ill
'Tis done, 'tis done : nay when fuch flowing ftore,
Plentie it lelfe fals in my wiues lappe.
The Cornu-copia will be mine I know. But Cob,
What entertainment had they ? I am fure
»s My lifter and my wife would bid them welcome, ha ?
Cob. Like ynough : yet I heard not a word of welcome.
Tho. No, their lips were feal'd with kif fes, and the voice
[49] Drown 'd in a flood of ioy at their arriuall,
Had lolt her motion, ftate and facultie.
3" Cob, which of them was't that firft kift my wife ?
(My lifter I fhould fay) my wife, alas,
I feare not her : ha ? who was it fayft thou ?
Cob. By my troth fir, will you haue the truth of it ?
Tho. Oh I good Cob : I pray thee,
3s Cob. God's my iudge, I law no body to be kift, vnleffe
they would haue kift the poft, in the middle of the ware-
houfe ; for there / left them all, at their Tabacco with
a poxe.
Tho. How ? were they not gone in then eVe thou
4« cam'ft ?
Cob. Oh no fir.
Tho. Spite of the Deuill, what do I ftay here then ?
Cob, follow me. ^xU. Tho.
Coi. Nay, foft and faire, I haue egges on the fpit ;
's I cannot go yet fir : now am I for fome diuers reafons
hammering, hammering reuenge : oh for three or foure
gallons of vineger, to fharpen my wits : Reuenge, vineger
reuenge, ruffet reuenge ; nay, and hee had not lyne in
my houfe, t'would neuer haue greeu'd me ; but being
s" my gueft, one that ile bee fwome, my wife ha's lent him
her fmocke off her backe, while his owne fhirt ha beene
at wafhing : pawnd her neckerchers for cleane bands for
him : fold almoft all my platters to buy him Tabacco ;
and yet to fee an ingratitude wretch : ftrike his hoft ; weU I
ss hope to raif e vp an hoft of furies f or't : here comes M. Doctor.
n,g,i,7cd by Google
ACTIII, sc.vr) Euery Man in his Humour 145
'Tis done, 'tis done ! nay, when fuch flowing ftore,
Plentie it {elfe, falls in my wiues lap,
The Cornu-cofia will be mine, I know. But, Cob.
What entertaynement had they? I am lure 's
My liftei, and my wife, would bid them welcome ! ha?
Cob. Like inough, fir, yet, I heard not a word of it.
Kit. No : theirhps were feal'd with kif fes, and the voyce
Drown'd in a floud of ioy, at their arriuall,
Had lolt her motion, ftate, and facultie. 3<>
Cob, which of them was't, that firft kift my wife?
(My fifter, I fhould fay) my wife, alas,
1 feare not her : ha ? who was it, fay'ft thou ?
Cob, By my troth, fir, will you haue the truth of it ?
Kit. Oh I, good Cob : I pray thee, heartily. [43]
Cob. Then, I ajn a vagabond, and fitter for Bride-
well, then your worfhips comf)anie, if I law any bodie
to be kift, vnlelfe they would haue kift the proft, in the
middle of the ware-houle ; for there I left them all, at
their tahacco, with a poxe. *°
Kit. How? were they not gone in, then, e're thou cam'ft ?
Cob. Oh no fir.
Kit. Spite of the deuill ! what doe I ftay here, then ?
Cob, follow me.
Cob. Nay, loft and faire, I haue egges on the fpit ; 45
I cannot goe yet, fir. Now am I for fome iiue and
fiftie reafons hammering, hammerii^ reuenge : oh, for
three or foure gallons of vineger, to fharpen my wits,
Reuenge, vineger reuenge ; vinegei , and muftard reuenge ;
nay, and hee had not lyen in my houfe, 't would neucr so
haue gheu'd me, but being my guelt, one, that lie be
fwome, my wife ha's lent him her fmock off her back,
while his one fhirt ha's beene at wafhing; pawn'd her
neckerchers for cleane bands for him ; fold almoft all my
platters, to buy him tahauo ; and he to tume monfter of ss
ingratitude, and f tiike his lawf ull hof 1 1 well, I hope to raif e
vp an hoft of furie for't : here comes luftice Clement.
44 [Biii. G
n,g,i,7cd by Google
146 Euery man in his Humor [ACT III, SC. Ill
Enter Doctor Clement, Lorenzo (en. Peto.
Clem. What's Signior ThoreUo gone ?
Pet. I £ir.
Clem. Hart of me, what made him leaue vs fo abruptly
How now lirra ; what make you here ? what wold you
*• haue, ha ?
Cob. And't pleaJe your worlhip, I am a poore oeigh-
bour of your worfhips.
Clem. A neighbour of mine, knaue ?
Cob. I fir, at the figne of the water-tankerd, hard by
*i the greene lattice : I haue paide fcot and lotte there any
time this eighteene yeares.
[60] dem. What, at the greene lattice ?
Cob. No fir : to the parifh : mary I haue seldome fcap't
fcot-free at the lattice.
'" Ciem. So : but what bufines hath my neighbour ?
Cob. And't like your worfhip, I am come to craue the
peace of your worfhip.
Clem. Of me, knaue 7 peace of me, knaue ? did I e're
hurt thee ? did I euer threaten thee ? or wrong thee ? ha ?
'* Cob. No god's my comfort, I meane your worfhips
warrant, for one that hath wrong'd me fir : his armes are
at too much libertie, I would faine haue them bound to
a treatie of peace, and I could by any meanes compaffe it.
Loren, Why, doeft thou goe in danger of thy hfe for
«" him ?
Cob. No fir ; but I goe in danger of my death euery
houre by bis meanes ; and I die within a twelue-moneth
and a day, I may fweare, by the lawes of the land, that
he Idl'd me.
n,g,i,7cd by Google
ACT HI, SC. VII] Euery Man in his Humour 147
ACT III. SCENE VII.
Clement, Kno'well, For-
HALL, Cob.
XXTHat's mafter Kitely gone ? Roger ?
^^ For. I, fir.
Cleh. 'Hart of me t what made him leaue vs lo
abruptly ! How now, Xirra ? what make you here ?
what would you haue, ha ? >
Cob. And't pleafe your worfhip, I am a poore neigh-
bor of your worfhips
Clem. A poore neighbor of mine ? why, fpeake poore
neighbour.
Cob. I dwell, fir, at the figne of the water-tankerd, «
hard by the greene lattice : I haue paid foot, and lot
there, any time this eighteene yeeres.
Cleh. To the greene lattice ?
Cob. No, fir, to the parifh : mary, I haue feldome
fcap't fcot-free, at the lattice. '*
Cleh. O, well 1 what bufineffe ha's my poore neigh-
bour with me ?
Cob. And't like your worfhip, I am come, to craue
the peace of yoiu- worfhip.
Clem. Of mee knaue ? peace of mee, knaue ? did I »
e're hurt thee ? or threaten thee ? or wrong thee ? ha ?
Cob, No, fir, but your worfhips warrant, for one
that ha's wrong'd me, fir: his armes are at too much
libertie, I would faine haue them bound to a treatie of
peace, an' my credit could compaffe it, with your worfhip. 's
Cleh. Thou goeft tarre inough about for't, I' am fure.
Kno. Why, doeft thou goe in danger of thy life for [44]
him ? friend ?
Cob. No fir ; but I goe in danger of my death, euery
houre, by his meanes : an' I die, within a twelue-monetfa y>
and a day, I may fweare, by the law of the land, tliat
be IdU'd me,
Enltr JtuHee Clemeat, Knowell, and Formal. G
n,g,i,7cd by Google
148 Euery man in his Humor [ACT III, sc. Ill
*s Clem. How ? how knaue ? tweare he kil'd thee ? wliat
pretext ? what colour haft thou for. that ?
Cob. Mary fir : both blacke and blew, colour ynough,
I warrant you I haue it here to Ihew your worlhip.
Clem. What is be, that gaue you this lirra ?
«o Cob. A Gentleman in the dtie fir.
Clem. A Gentleman ? what call you him ?
Cob. Signior BobadiUa.
Clem. Good : But wherefore did he beate you firra ?
how began the quarrel twixt you ? ha : fpeake truly knaue,
•5 I aduife you.
Cob. Many fir, becaufe I fpake again3t their vagrant
Tabacco, as I came by them : for nothing eKe.
Clem. Ha, you fpeake againft Tabacco ? Peto, his
name.
'" Pet. What's your name lirra ?
Cob. Oliuer Cob, fir fet Oliuer Cob, fir.
Clem. Tell Oliuer Cob he fhall goe to the iayle.
Pet. Oliuer Cob, mafter Doctor fayes you fhall go to
the iayle.
'°i Cob. Oh I befeech your worfhip for gods loue, deart;
mafter Doctor.
[51} Clem. Nay gods pretious : and fuch dnmken knaues
as you are come to difpute of Tabacco once ; I haue done :
away with him.
"■■ Cob. Oh good mafter Doctor, fweete Gentleman.
Lore. Sweete OUuer, would I could doe thee any good ;
mafter Doctor let me intreat fir.
Clem. What ? a tankard-bearer, a thread-bare raf-
call, a be^er, a flaue that neuer dnmke out of better the
"i pifpot mettle in his hfe, and he to depraue, and abufe
the vertue of an herbe, fo generally receyu'd in the courts
of princes, the chambers of nobles, the bowers of fweete
Ladies, the cabbins of fouldieis : Peio away with him,
by gods paffion, I fay, goe too.
n,g,i,7cd by Google
ACT III. sc. VIII Euery Man in fns Humour 149
Clem. How ? how knaue ? Iweare he kill'd thee ?
and by the law ? what pretence ? what colour halt
thou for that ? J!
Cob. Mary, and't pleafe your worfhip, both black,
and blew; colour inough, I warrant you. I haue it
here, to (hew your worlhip.
Clem. What is he, that gaue you this, firra ?
Cob. a gentleman, and a Xouldier, he faies he is, o' 4°
the citie here.
Clem. A fouldier o' the citie ? What call you him ?
Cob. Captayme Bobadil.
Clem. Bobadil ? And why did he bob, and beate
you, Xirrah ? How began the quarrell betwixt you ? ha : *:
/peake truely knaue, I aduiXe you.
Cob. Mary, indeed, and pleaie your wor0iip, ondy
becaule I fpake againft their vacant tabacco, as I came
by 'hem, when they were taking on't, for nothing e!fe.
Clem. Ha ? you fpeake againft tabacco 7 Forhall. 5<>
his name.
Form. What's your name, lirra ?
Cob. Oliver, fir, Oliver Cob, Ur.
Clem. Tell Olives Cob, he fhall goe to the iayle,
FORMALL. ii
Form. Oliver Cob, ray raafter, luftice Clement,
faies, you fhall goe to the iayle.
Cob. O, I befeech your worDup, for gods fake, deare
mafter luftice.
Clem. Nay, gods pretious : and fuch drunkards, and «'
tankards, as you are, come to difpute of tabacco once ;
I haue done ! away with him.
Cob. O, good mafter luftice, fweet old gentleman.
Kno. Sweet Oliver, would I could doe thee any
good: luftice Clement, let me intreat you, fir. «s
6j [to KnoweU. G
n,g,i,7cd by Google
Euery man in his Humor {ACT III, sc. Ill
n,g,i,7cd by Google
ACTiir,sc.vii] EMery Man in kis Humour 151
Clem. What ? a thred-bare rafcall t a begger I a
Ilaue that neuer drunke out of better then pilfe-pot
mettle in his hfe t and he to depraue, and abuTe the
vertue of an herbe, fo generally receiu'd in the courts
of princes, the chambers of nobles, the bowers of Iweet j<
ladies, the cabbins of louldiers 1 Roger, away with him,
by gods pretious — I fay, goe too.
n,g,i,7cd by Google
152 Euery man in his Humor [ACT in. sc. IV
■»■> Cob. Deare malter Doctor.
Loren. Alaffe poore Oliuer.
Clem. Veto: I ; and make him a warrant, he fhall not
goe, I but feare the knaue.
Cob. O diuine Doctor, thankes noble Doctor, moft
"s dainty Doctor, delicious Doctor. . "Exeunt Veto with Cob.
Clem. Signior Lorenzo: Gods pitty man,
Be merry, be merry, leaue thele dumpes.
Loren. Troth would I could lir : but enforced mirth
(In my weake iudgement) h'as no happy birth,
'le The minde, being once a priloner vnto cares,
The more it dreames on ioy, the worfe it fares.
A smyling looke is to a heauie foule.
As a guilt bias, to a leaden bowle,
Which (in it lelfe) appears moft vile, being fpent
'35 To no true vfe ; but onely for oftent.
Clem. Nay but good Signior : heare me a word, heare
me a word, your cares are nothing ; they are like ray cap,
foone put on, and as foone put off. What ? your fonne
is old inough, to goueme himfelfe : let him runne his
u" courfc, it's the onely way to make him a ftay'd man'; if
he were an vnthrift, a ruffian, a drunkard or a licentious
liuer, then you had reafon : you had reafon to take care :
but being none of thefe, Gods paffion, and I had twife
[52] fo many cares, as you haue, I'ld drowne tbem all in a
Mj cup of lacke : come, come, I mule your parcell of a
fouldier retumes not all this while. Exeuni.
SCENA QVARTA.
Enter Giuliano, with Biancha.
Giul. Well fitter, I tell you true: and you'le findc it
fo in the ende.
Bia. Alaffe brother, what would you haue me to doe ?
I cannot helpe it ; you fee, my brother Vroffero he brir^
t them in here, they are his friends.
n,g,i,7cd by Google
ACTiv, sc. IJ Euery Man in kis Humour 153
Cob, Deare mafter luXtice ; Let mee bee beaten
againe, I have deleru'd it : but not the prifon, I beleecb
you. «
Kno. Alas, poore Ouver !
Cl£H. Roger, make him a warrant (bee Ihall not
goe) I but feare the knaue.
Form. Doe not ftinke. Iweet Oliver, you Iball not
goe, my matter will giue you a warrant. *<■
Cob. O, tbe Lord maintayne his worfhip, his worthy
worlhip.
Clem. Away, difpatch him. How now, matter Kno'-
WEL t In dumps ? In dumps ? Come, this becomes not.
Kno. Sir, would I could not feele my cares— — '!
Cleh. Your cares are nothing ! they are like my cap, [45]
loone put on, and as loone put off. What ? your lonne
is old inough, to goueme himfelfe : let him runne his
courfe, it's the onely way to make him a ftay'd man.
If he were an vnthrift, a ruffian, a drunkard, or a licen- 9°
tious liuer, then you had realon ; you had reafon to
take care : but, being none of thefe, mirth's my wit-
nelie, an' I had twile fo many cares, as you bane, I'ld
drowne them all in a cup of facke. Come, come, let's
trie it : I mufe, your parcell of a fouldier retumes not ji
ail this while.
ACT nil. SCENE I.
DOWNE-EIGHT, DaHE KiTELY.
Ell lifter, I tell you true : and you'll finde it fo,
in the end.
Daue. Alas brother, what would you haue mee to
doe ? I cannot helpe it : you fee, my brother brings
"hem in, here, they are his friends. '
83 Um [Ex. Form, and Cob. G 96 {Exeunt. G A Room
in Kitdy's House. G
w
n,g,i,7cd by Google
154 Euery man in his Humor [ACT III, SC. IV
Giu. His friends ? his friends ? s'blood they do nothing
but haunt him vp and downe like a forte of vnlucky
Sprites, and tempt him to all maner of villany, that can
be thought of; well, by this hght, a httle thing would
■" make me play the deuill with fome of them ; and't were
not more for your hufbands fake, then any thing elfe,
I'ld make the houfe too hot for them ; they fhould fay
and fweare. Hell were broken loofe, e're they went : But
by gods bread, 'tis no bodies fault but yours : for and
<s you had done as you might haue done, they fhould haue
beene damn'd e're they fhould haue come in, e're a one
of them.
Bia. God's my life ; did you euer heare the hke ?
what a ftrange roan is this ? could I keepe out all them
" thinke you ? I ifaould put my felfe againft halfe a dozen
men ? fhould / 7 Good faith yould mad the patient'ft
body in the world, to heare you talke fo, without any
fenfe or reafon.
EnUr Maiheo with Hejferida, BohadiUa, Stephana,
Lorenzo iu. Pro{pero, Mu/co.
Help. Seruant (in troth) you are too prodigall of your
>9 wits treafure ; thus to powre it foorth vpon fo meane a
fubiect, as my worth ?
Ma/, You fay well, you fay well.
Giu. Hoyday, heare is ftuffe.
Lo. iu. Oh now f tand clofe : pray God fhe can get him
ja to reade it.
[58] Prof. Tut, feare not : I warrant thee, he mil do it of
himfelfe with much impudende.
Hes. Seruant, what is that fame I {H-ay you ?
Mat. Mary an EUgie, an Elegie, an odde toy.
n,g,i,7cd by Google
ACTIV.SCII) Euery Man in his Humour 155
Dow. His friends 7 his fiends. Slud, they doe
nothing but hant him, vp and downe, like a fort of
vnluckie fprites, and tempt him to all maimer of villanie,
that can be thought of. Well, by this light, a httle
thing would make me play the deuill with fome of "hem ; ■■
and 'twere not more for your hufbands fake, then any
thing elfe, I'ld make the houfe too hot (or the beft on
hem : they Ihould fay, and Iweare, hell were broken
loofe, e're they went hence. But, by gods will, 'tis no
bodies fault, but yours : for, an' you had done, as you ■!
might haue done, they fhould haue beene perboyl'd, and
bak'd too, euery mothers lonne, e're they fhould ha'
come in, e're a one of 1*em.
Daub. God's my life ! did you euer heare the like ?
what a ftrange man is this I Could I keepe out all them, *<
thinke you ? I Ihould put my felfe, againft halfe a dozen
men ? fhould I ? Good faith, you'ld mad the patient'ft
body in the world, to heare you talke to, without any
fenfe, or realoni
ACT nil. SCENE II.
M". Bridget, M . Matthew, Dame Kite-
LY, DOWNE-RIGHT, WEL-BRED, STE-
PHEN. Ed. Kno'well, Boba-
DIL, BrAYNE-WORME,
Cash.
CEruant (in troth) you are too prodigaJl
Of your wits treafure, thus to powre it forth,
Vpon fo meane a fubiect, as my worth ?
Mat. You fay well, miftiis ; and I meane, as well.
Enitr mislris Bridget, mast«r Mathew, and Bobadill; followed,
at a dUtanct, by Wellbred, E. Kaowell, Stephen, and Brainworm. G
n,g,i,7cd by Google
156 Euery man in his Humor [ACT III, SC. IV
n,g,i,7cd by Google
ACTlv.SCir) Euery Man in kis Humour 157
DowK. Hoy-day, here is ftuffe ! j [46]
Well. O, now ftand dole : pray heauen, Diee can
get him to reade :
He (hould doe it, of his owne naturall impudencie.
BwD. Seniant, what is this fame, I pray you ?
Matt. Mary, an Elegie, an Elegie, an odde toy — 10
n,g,i,7cd by Google
158 Euery man in his Humor [ACT in, SC IV
>s Gut. I to mocke an Ape with all. Oh Icfu.
Bia. Sifter, I pray you lets heare it.
Mai. MiltreHe He recde it if you pleaie.
Hef. I pray you doe (eruant.
Gut. Oh heares no foppery, Sblood it freates me to
*" the galle to thinke on it. Exit.
Pro/. Oh I. it is his condition, peace : we are farely
ridde of him.
Mat. Fayth I did it in an humor : I know not how
it is, but pleafe you come neare fignior : this gentleman
«5 hath iudgement, he knowes how to cenfnre of a. 1
pray you fir, you can iudge.
Step. Not I fir : as / haw a foule to be faued, as I am
a gentleman.
Lo. iu. Nay its well ; fo long as he doth not forfweare
s" himfelfe.
Bob, Signior you abuse the excellencie of your mift-
reffe, and her fayre fifter. Fye while you hue auoyd
this prolixity.
Mat. I fhall fir : well, Incipere dulce.
ii Lo. iu. How, Incipere dulce ? a fweete thing to be a
Foole indeede.
Prof. What, do you take Incipere in that fence i
Lo. iu. You do not you ? Sblood this was your vil-
lanie to gull him with a motte.
** Prof. Oh the Benchers phrafe : Pai4ca verba, Pauca
verba.
Mai. Rare creature let me Jpeake without offence,
Would God my rude woords had the infittence :
To ride thy thoughts, as thy fayre lookes do mine,
^i Then fhouldft thou be his prifofter, who is thine.
Lo. iu. Sliart, this is in Hero and Leander ?
Prof. Oh I : peace, we fhall haue more of this.
n,g,i,7cd by Google
ACT IV, sc. II] Euery Man in his Humour 159
Down. To mock an ape withall. O, I cotild tow vp
his mouth, now.
Dahe. Sifter, I pray you let's heare it.
Down. Are you rime-giuen, too ?
Matt. Miftris, He reade it, if you pleafe. k
Brid. Pray you doe, feruant.
Down. O, here's no fopperie I Death, I can endure
the ftocks, better.
E. Kn. What ayles thy brother ? can he not hold
his water, at reading of a ballad ? «
Weil. O, no : a rime to him, is worle then cheefe,
or a bag-pipe. But, marke, you loofe the proteftation.
Matt. Faith, I did it in an humour ; I know not how
it is : but, pleafe you come neere, fir. This gentleman
ha's iudgement, hee knowes how to cenfure of a — pray n
you fir, you can iudge.
Step. Not I, fir : vpon my reputation, and, by the
foot of Phakoah.
Well. O, chide your coUea. for fwearing.
E. Kn. Not I, fo long as he do's not forfweare him- jt
felfe.
Bob. Matter Matthew, you abufe the expectation of
your deare miftris, and her faire fifter : Fie, while you
liue, auoid this prolixite.
Matt. I fhall,,fir: well, Incipere duke. v.
E. Kn. How ! Infipere dulce ? a fweet thing to be
a foole, indeed.
Well. What, doe you take Infipere, in that fenfe ?
E. Kn. You doe not ? you ? This was your villanie,
to gull him with a moUe. v
Well. O, the Benchers phrafe: fauca verba, pattca
verba,
16 [Eni. G
n,g,i,7c.dbyG00'^lc
Euery man io his Humor [ACT III, SC. iv
n,g,i,7cd by Google
ACT IV, SC. II] Euery Man in his Humour lb:
Matt. Rare creaiure, let me fpeake without offencs.
Would god my rude wordes had the influence.
To rule thy thoughts, as thy faire lookes doe mine,
Then jhoidd'ft thou he his prifoner, who is thine.
E. Kn. This is in Heso and Lea»der ?
Well. O, 1 1 peace, we fhall haue more of this.
43 Matt.J
46 To] J
W Matt B
Matt P
n,g,i,.i.d by Google
l62 Euery man in his Humor (actiii, sc. iv
Mai. Be not vnkinde and fayre milhafen jtuffe.
Is of behauiour boy/ierous and rough :
[S4] How like you that fignior, fblood he Xhakes his head like
a bottle, to feele and there be any brayne in it.
Mat. But oblerue the Cataltrophe now,
And I in duiie will exceede all other.
As you in bewtie do excell hues mother.
" Lo. iu. Well ile haue him free of the brokers, for he
vtters no thing but ftolne remnants.
Prof. Nay good Critique forbeare.
Lo. iu. A pox on him, hang him filching rogue, fteale
from the deade ? its worfe then facriledge.
•" Prof. Sifter what haue you heare ? verfes ? I pray
you lets fee,
Bia. Do you let them go fo hghtly lifter.
He/. Yes fayth when they come lightly.
Bia. I but if your feruant fhould heare you, he would
»i take it heauely.
Hef. No matter he is able to beare.
Bia. So are Alfes.
Hef. fo is hee.
Prof. Signior Matheo, who made thefe verfes ? they
9* are excellent good.
Mat. Oh God fir, its your pleafure to fay fo fir.
Fayth I made them extempore this morning.
Prof. How extempore ?
Mat. I would I might be damnd els: afke fignior
9s Bobadilla. He fawe me write them, at the : (poxe on it)
the Miter yonder.
Muf. Well, and the Pope knew hee curft the Miter
it were enough to haue him excommunicated all the
Tauems in the towne.
>" Step. Cofen how do you like this gentlemans verfes.
n,g,i,7cd by Google
ACT IV, sc. II] Euery Man in his Humour 163
Matt. Be not vnkinde, and faire, mifkapen fluffe
Is of behamour boyfterous. and rough: t-
^^ Well. How like you that, fir ?
an/wr'i £■ Kn. S'light, be fliakes his head Uke a bottle, to
»'"'* ieele and there be any braine in it !
Ait head'. Matt. But obferue the calaftropke, now.
And I in duiie will exceede all other, »
As you in heautie doe excdl loues mother.
E. Kn. Well, He haue him free of the wit-brokers,
for bee vtters nothing, but ftolne remnants.
Wel. O, forgiue it him. [47]
E. Kn. a filtching rogue ? hang him. And, from <«
the dead ? it's worfe then facrilege.
Wel. Sifter, what ha' you here ? verfes ? pray you,
lets fee. Who made thefe verfes ? they are excellent
good!
Mat. O. mafter Wel-bred, 'tis your difpofition to 65
lay fo, fir. They were good i' the morning, I made 'hem,
extempore, this morning.
Wel. How ? extempore ?
Mat. I, would I might bee hang'd elfe: aske Cap-
tayne Bobadill. He faw me write them, at the — (poxe j»
on it) the ftarre, yonder.
Bray. Can he find, in his heart, to curfe the ftarres,
fo?
E. Kn. Faith, his are euen with him : they ha' curit
him ynough alreadie. ,s
Step. Cofen, how doe you like this gentlertians verfes ?
61 [Wellbred, E, Knowell, and masUr Stephen come forward. G
: curie] courfe 1640
n,g,i,7cd by Google
164 Euery man in bis Hamor [ACT III, SC. IV
Lo. iu. Oh admirable, the belt that euer I hSird.
Step. By this fayre heauens, they are admirable.
The belt that euer I heard.
Enter Giuliano.
Giu. I am vext I caa hold neuer a bone of me ftill,
"5 Sblood I think they meane to build a Tabernacle heare,
well ?
[55] Prof. Sifter you haue a fimple feniant heare, that
crownes yo»ir bewtie with fuch Encomions and Deuifes,
you may fee what it is to be the miftreffe of a wit, that
"" can make your perfections fo tranfeparent, that euery
bleare eye may looke thorough them, and fee him drowned
ouer head and eares, in the deepe well of defire. Sifter
Biancha I meruaile you get you not a feniant that can
rime and' do trickes too.
■ ' s Giu. Oh monfter ? impudence it felfe ; trickes ?
Bia. Trickes, brother ? what trickes ?
Hef. Nay, Ipeake I pray you, what trickes ?
Bia. I, neuer fpare any body heare : but say, what
trickes ?
'" Hej. Paffion of my heart ? do trickes ?
Prof. Sblood heares a tricke vied, and reuied : why
you monkies you ? what a catterwaling do you keepe ?
has he not giuen you rymes, and verles, and trickes.
Giu. Oh fee the Diuell ?
■'5 Prof. Nay, you lampe of virginitie, that take it in
fnufie fo : come and cherifh this tame poetical fury in
your {eruant, youle be begd elfe fhortly for a conceale-
ment : go to, rewarde his mufe. you cannot giue him
leffe then a fhilling in conlcience, for the booke he had
'3° it out of coft him a tefton at the leaft, how now gallants,
Lorenzo, fiignior BohadiUa ? what all fonnes of fcilence ?
no fpirite.
Giu. Come you might practife your Ruffian trickes
fomewhere elfe, and not heare I wiffe : this is no Taueme,
■3s nor no place for fuch exptoites.
n,g,i,7cd by Google
ACT IV, SC. II] Euery Man in his Sumour 165
E. Kn. O, admirable 1 the belt that euer Iheard, coulle !
Step. Body o' Caesab! they are admirable I
The belt, that euer I heard, as I am a fouldier.
Dow, I am vext, I can hold ne're a bone of mee ftill t <•
Heart, I thinke, they meane to build, and breed here !
Wel. Sifter, you haue a fimple feruant, here, that
crownes your beautie, with fuch encomions, and deuifes :
you may fee, what it is to be the miftris of a wit I that
can maJte your perfections fo tranfparent, that euery «>
bleare eye may looke through them, and fee him drown'd
ouer head, imd eares, in the deepe well of defire. Sitter
KiTELY, I maruaile, you get you not a feruant, that
can rime, and doe tricks, too.
Down. Oh monfter ! impudaice it felfe I tricks ? 9=
Dame. Tricks, brother ? what tricks ?
Brid. Nay, fpeake, I pray you, what tricks ?
Dahe. I, neuer fpare any body here : but fay, what
tricks ?
Bhid. Paifion of my heart I doe tricks ? vs
Wel. S'light, here's a trick vyed, and reuyed 1 why,
you mimkies, you ? what a catter-waling doe you keepe ?
ha's hee not giuen you rimes, and verfes, and tricks ?
Dow. O, the fiend!
Wel. Nay, you, lampe of virginitie, that take it in ■«
fnufie fo t come, and cherifh this tame poeticaU furie,
in your feruant, you'll be begg'd elfe, fhortly, for a con-
cealement : goe to, reward his mufe. You cannot glue
him leffe then a fhilling, in confcience, for the booke,
he had it out of, coft him a tefton, at leaft. How now, "s
gallants ? M'. Matthew ? Captayne ? What ? all
(onnes of filence ? no fpirit ?
Dow. Come, you might practife your ruffian-tricks
fomewhere elfe, and not here, I wuffe : this is no taueme,
nor drinking-fchole, to vent your exploits in. '"
79 [Be-enler Downright. G
n,g,i,7cd by Google
l66 Euery man in his Humor [ACT lit. sc. iv
Prof. Shart how now.
GtM. Nay boy, neuer looke aflcance at me for the
matter ; ile tell you of it by Gods bread ? I, and you
and your companions mend your lelues when I haue done.
■40 Prof. My companions.
Gui. I your companions Or, (o I lay ? Sblood I am not
afirayed of you nor them neyther, you mult haue your
Poets, & your caueleeres, & your fooles follow you vp
and downe the dtie, and heare they mult come to domi-
>4s neere and fwagger ? firha, you Ballad finger, and Slops
[56] your fellow there, get you out ; get you out ; or (by the
will of God) lie cut of your eares, goe to.
Prof. Sblood ftay, lets fee what he dare do : cut of
bis eares you are an alfe, touch any man heare, and by
■s" the Lord ile run my rapier to the hilts in thee.
Gut. Yea, that would I fayne fee, boy. Theyail<lraw,enter
Bia. Oh lefu Pifo, Matkeo murder. Piioand/omemore
Hef. Helpe, helpe, Pifo. of the koufe to part
Lo. iu. Gentlemen, Profpero, for- them, the women
iss beare I pray you. ma&e a great crie.
Bob. WeU firrah, you HoUofernus: by my hand I
will pinck thy flefh full of holes with my rapier for this,
I will by this good heauen : nay let him come, let him come,
gentlemen by the body of S. George ile not kill him.
■*• Pifo. Hold, hold forebeare : Theoffertofight a-
Gui. You whorfon bragging coyf- gaine and are part-
try]!, ed. £MferThorello.
Tho. Why, how now ? whats the matter ? what ttirre
is heare.
Whence fprings this quarrell, Pizo where is he ?
■«s Put vp your weapons, and put of this rage.
My wife and fifter they are caufe of this.
n,g,i,7cd by Google
ACT IV, SC. Ill] Euery Man in his Humour 167
Wel. How now t whole cow ha's calu'd ?
Dow. Mary.thatha'smine.iir. Nay, Boy, neuer looke [4^]
askance at me, for the matter ; lie tell you of it, I, fir, you,
and your companions, mend your felues, when X ha' done ?
Wel. My companions ? "s
Dow. Yes fir, you companions, fo I fay, I am not
afraid of you, nor them neither : your hang-byes here.
You muft haue your Poets, and your potlings, your
joldado's, and foolado's, to follow you vp and downe the
citie, and here they muft come to domineere, and fwagger. '"
Sirrha, you, ballad-finger, and flops, your fellow there, ,
' get you out ; get you home : or (by this fteele) He cut
off your eares, and that, prelently.
Wel. S'Ught, ftay, let's fee what he dare doe : cut
off his eares ? cut a whetftone. You are an affe, doe »s
you fee ? touch any man here, and by this hand. He
runne my rapier to the hilts in you.
Th^ ail Dow. Yea, that would I faine fee, boy.
tf^'af tht Dame. O lefu ! murder. Thomas, Caspar !
hottit^udit Brid. Helpe, helpe, Thomas. 'jo
"" thfni. ' E. Kk. Gentlemen, forebeare, I pray you.
Bob. Well, firrah, you, Holofehnes : by my hand,
I will pinck your flefh, full of holes, with my rapier for
Thty offrr this ; I Will, by this good heauen : Nay, let him come,
'" .■'^■*'*^et him come, gentlemen, by the body of Saint George, us
are fiarted.lle not kill him.
Cash. Hold, hold, good gentlemen.
Dow. You whorfon, bragging coyltrill !
r. /*«,. ACT lUI. SCENE HI.
KlTELY.
'\A7Hy. how now ? what's the matter ? what's the
Itirre here ?
Whence fprings the quarrel ? Thomas I where is he ?
Put vp your weapons, and put off this rage.
My wife and fifter, they are caufe of this, s
116 you companions] yonr companions 1640+ fxe. G
130 [Enter Cash and somt of the house to part them. G
by Google
l68 Euery man in his Humor [ACT III. SC. IV
What, Pizo ? where is this knaue.
Pizo. Heare fir.
Pro/. Come, lets goe : this is one of my brothers
"° aundent humors this ?
Suph. I am glad no body wsis hurt by this auncienr
humor.
Exit Projpero. Lorettzom. Mufco, Suphano, BohadiUo,
Maiheo,
Tho. Why how now brother, who enforft this braule.
^ Giti. A forte of lewd rakehelles, that care neither for
'" God nor the Diuell, And they muft come heare to read
Ballads and Rogery' and Trafh, He maire the knot of
them ere I fleepe perhaps : efpedally fignior Pitkagorus,
he thats al manner of fhapes : and Songs and fonnets,
his fellow there.
■*° Hef. Brother indeede you are to violent.
To fudden in your coiirfes, and you know
[57] My brother Projperus temper will not beare
Any reproofe, chiefely in luch a prelence.
Where euery Eight difgrace he fhould receiue,
i<5 Would wound him in opinion and refpect.
Cm. Refpect ? what talke you of refpect mongft fuch
As had neyther fparke of manhood nor good manners.
By God I am afhamed to heare you : refpect ? Exit.
Hef. Yes there was one a duiU gentleman,
'9° And very worthely demeand himfelfe.
Tho. Oh that was fonae loue of yours, lifter.
Hef. A loue of mine ? infayth I would he were
No others loue but mine.
Bia. Indeede he feemd to b^ a gentleman of an ex-
>»3 ceding fayre difpofition, and of very excellent good partes.
Exit Hefperida, Biancha.
Tho. Her loue, by lefu : my wifes minion,
Fayre difpofition ? excellent good partes ?
n,g,i,7cd by Google
ACT IV, sc. Ill] Euery Man in kis Humour 169
What, Thomas ? where is this knaue ?
Cash. Here, lir.
Wel. Come, let's goe : this is one of my brothers
ancient humours, this.
Step. I am glad, no body was hurt by his ancient '»
hiunour.
Kite. Why, how now, brother, who enforft this
brawie?
Dow. A fort of lewd rake-hells, that care neither for
god, nor the deuill I And, they matt come here to reade '5
ballads, and rogery, and trafh I He marre the knot of
'hem ere I fleepe, perhaps : elpecially Bob, there : he
that's all manner of fhapes ! and Songs, and fonnets, his
fellow.
Brid. Brother, indeed, you are too violent, »"
To f udden, in your humoin- : and, you Jmow
My brother Wel-breds temper will not beare i^^]
Anie reproofe, chiefly in luch a prefence.
Where euery flight difgrace, he fhould receiue.
Might wound him in opinion, and refpect. >s
Down. Refpect ? what talkc you of refpect 'mongfuch.
As ha' nor fparke of manhood, nor good manners ?
'Sdeynes I am afham'd, to heare you I refpect ?
Brid. Yes, there was one a ciuill gentleman.
And very worthily demean'd himfelfe 1 s-
Kite. O, that was feme lone of yoiurs, fifter !
Brid. A lone of mine ? I would it were no worfe,
brother I
You'Ud pay my portion fooiier, then you thinke for.
Dahe. Indeed, he feem'd to be a gentleman of an is
exceeding faire difpofition, and of verie excellent good
parts 1
Kite. Her loue, by beauen I my wifes minion !
Faire difpofition ? excellent good parts ?
II [Exeunt Wei. St»p. E. Kno. Bob. and Brai. G
28 [Esil, G 37 [EKtunt dame KiUly and Bridget. G
n,g,i,.i.d by Google
lyo Euery man in his Humor [ACT III, gC. V
STiarl, thefe phrafes are intoUerable,
Good partes ? how Ihould fhe know bis partes ? well : well,
"" It is too playne, too cleare : Pizo, come hether.
What are they gone ?
Pi. I fir they went in,
Tho. Are any of the gallants within ?
Pi. No fir they are all gone,
"s Tho. Art thou fure of it ?
Pi. I fir I can affure you.
Tho. Pizo what gentleman was that they prayfd fo ?
Pizo. One they call him fignior Lorenzo, a fayre young
gentleman fir.
■"> Tho. I, I thought fo : my minde gaue me as much :
Sblood ile be hangd if they haue not hid him in the houfe.
Some where, ile goe fearch, Pizo go with me.
Be true to me and thou fhalt flnde me bountifull. Exeunt.
SCENA QVINTA.
Enter CoB, to htm Tib.
Cob. What Tib. Tib. I fay.
[68] Tib. How now, what cuckold is that knockes fo hard ?
Oh hufband ift you, whats the newes ?
Cob. Nay you haue ftonnd me I fayth ? you hue giuen
1 me a knocke on the forehead, will fticke by me : cuckold ?
Swoundes cuckolde ?
Tib, Away you foole did I know it was you that
knockt.
Come, come, you may call me as bad when you lift.
'■■ Cob. May I ? fwoundes Tib you are a whore :
Tib. S'hart you lie in your throte.
Cob. How the lye ? and in my throte too ? do you
long to be ftabd, ha ?
n,g,i,7cd by Google
ACTIV, SCIV] Euery Man in his Humour 171
Death, thefe phrafes are intoUerable! "
Good parts ? how ihould fhee know his parts ?
His parts ? Well, well, well, well, well, well I
It is too plaine, too cleere : Thomas, come hither.
What, are they gone ? Cash. I, fir, they went in.
My miltris, and your filter *j
Kite. Are any of the gallants within !
Cash. No, fir, ,they are all gone.
Kite. Art thou fure of it ?
Cash. I can affure you, fir.
Kite. What gentleman was that they prais'd fo, s"
Thomas ?
Cash. One, they call him mafter Kno'well, a hand-
fome yong gentleman, fir.
Kite. I, I thought fo : my mind gaue me as much,
lie die, but they haue hid him i' the houfe, »
Somewhere ; He goe and learch : goe with me, Thomas.
Be true to me, and thou fhalt find me a mafter.
ACT mi. SCENE ini.
Cob, Tib :
\X7Hat Tib. Tib, I fay.
Tib. How now, what cuckold is that knocks fo
bard ? O, hufband, ift you ? what's the newes ?
Cob. Nay, you haue ftonn'd me, Ifaith t you ha'
giu'n me a knock 0' the forehead, will ftick by me I >
cuckold ? 'SUd, cuckold ?
Tffi. Away, you foole, did I know it was you, that
knockt ?
Come, come, you may call me as bad, when you hit. [60]
Cob. May I ? Tib, you are a whore. ■"
Tib. You lye in your throte, hufband.
Cob. How, the lye ? and in my throte too ? doe
you long to bee ftab'd, ha ?
S7 [Exeutit. G Tht Lant btfore Cob's Home. Enlar Cob. C
t What] C<^ [knocks at th» door] What G 3 Tib [wtlAtn.] G
3 bard. [Enter Tib. G
n,g,i,7cd by Google
172 Euery man in his Humor [ACT III, sc VI
Tib. Why you are no fouldier ?
■5 Cob. Maife thats true, when was BobadiUa heare ?
that Rogtte, that Slaue, that fencing BurguUian ? ile
tickle him I {aith.
Tib. Why what's the matter ?
Cob. Oh he hath baited me rarely, lumptioufly : but
" I haue it heare will laule him, oh the doctor, the honefteft
old Troian in all Italy, I do honour the very flea of his
dog : a ph^ue on him he put me once in a villanous filthy
feare : marry it vanifht away like the fmooke of Tobacco :
but I was fmookt foundly firit, 1 thanke the Diuell,
" and his good Angell my gueft : well wife : or Tib (which
you will) get you in, and locke the doore I charge you,
let no body into jrou : not BobadiUa himfelfe ; nor the
diuell in his likeneffe ; you are a woman ; you haue flefh
and blood enough in you ; therefore be not tempted ;
3= keepe the doore fhut vpon all cummers.
Tib. I warrant you there fhall no body enter heare
without my confent.
Cob. Nor with your confent fweete Tib and fo I
leaue you.
js Tib. Its more then you know, whether you leaue
me fo.
Cob. How ? Tib. Why fweete.
Cob. Tut fweete, or foure, thou art a flower,
Keepe clofe thy doore, I afke no more. Exeunt.
SCENA SEXTA.
Enter Lorenzo iu. Prolfero, Stephana, Mufco.
Lo. iu. Well Mufco performe this bufineffe happily,
[69] And thou makeft a conqueft of my loue foreuer.
Prof. I fayth now let thy fpirites put on their beft
habit,
n,g,i,7c.dbyG00'^lc
ACT IV, SC. IV] Euery Man in his Humour 173
Tib. Why, you are no fouldier, I hope ?
Cob. O, muft you be ftab'd by a fouldier ? Maife, 1:
that's true ! when was Bobadill here ? your Captayne ?
that rogue, that foift, that fencing BurguUian? lie
tickle him, ifaith.
Tib. Why, what's the matter ? trow I
Cob. O, he has bafted me, rarely, fumptioufly .' but >.
I haue it here in black and white ; for his black, and blew :
[hall pay him. O, the lultice \ the honeftelt old braue
Troian in London ! I doe honour the very flea of his
dog. A plague on him though, he put me once in a
viUanous filthy feare ; mary, it vaniiht away, like the <>:
fmoke of tabacco: but I was Imok't foimdiy firft. I
thanke the deuil], and his good angell, my gueft. Well,
wife, or Tib (which you will) get you in, and lock the
doore, I charge you, let no body in to you ; wife, no
body in, to you ; thofe are my wordes. Not Captayne 3=
Bob himfelfe, nor the fiend, in his likeneffe ; you are a
woman; you haue flefh and bloud enough in you, to
be tempted : therefore, keepe the doore, fhut, vpon all
commers.
Tib. I warrimt you, there fhall no body enter here, as
without my confent.
Cob. Nor, with your confent, fweet Tib, and fo I
leaue you.
Tib. It's more, then you know, whether you leaue
me £0. t'
Cob. How ?
Tib. Why, fweet.
Cob. Tut, fweet, or fowre, thou art a flowre,
Keepe clofe thy dore, I aske no more.
1 white; [Pulls out the warrant. C
n,g,i,7cd by Google
Etiery man in his Humor {act hi, sc. VI
n,g,i,7cd by Google
ACT IV. SC V] £iM!f y Man in his Humour 175
ACT nil. SCENE V.
Ed. Kno'well, Well-bred, Stephen,
Brayne-woeme.
^TITEU Brayne-woeme, performe this bulmefre, happily.
And thou makeft a purchale of ray loue, for-euer,
Wel. Ifaith, now let thy fpirits vXe their belt facul-
A Room in Ike WindtniU Tavtm. Enter E. Knowell, WeUbred.
Stepbea, and Braioworm disguised as before. G
a for-ener,] foreuer. 1640+
n,g,i,7cd by Google
176 Euery man in his Humor [ACT III, SC. VI
s But at any hand remember thy meW^e to my brother.
For theres no other meanes to ftart him ?
Mm/. I warrant you fir, feare nothing I haue a nimble
foule that hath wakt all my imaginatiue forces by this
time, and put them in true motion : what you haue
'" polfeft me withall ? He diXcharge it amply fir. Make
no queftion. Exit Mufco.
Prof. Thats well layd Mufco : fayth firha how doXt
thou, aproue my wit in this deuife ?
Lo. »'«. Troth well, howfoeuer ? but excellent if it
* take.
Prof. Take man : why it cannot chufe but take, if
the circumftances milcarry not, but tell me zealouHy :
doft thou affect my filter He/perida as thou pretendeft ?
Lo. iu. pTOJPero by lefu.
'" Proi. Come do not proteft I beleeue thee : I fayth
fhe is a vii^ine of good ornament, and much modeftie,
vnlefle I conceiud very worthely of her, thou fhouldeft
not haue her.
Lo. iu. Nay I thinke it a queftion whether I fhall
'5 haue her for all that.
Prof. Sblood thou fhai haue her, by this light thou
ihalt?
Lo. iu. Nay do not (weare.
Prof. By 5. Marke thou fhalt haue her : ile go fetch
» her prefently, poynt but where to meete, and by this
hand ile bring her ?
Lo. iu. Hold, hold, what all polUcie dead ? no pre-
uention of mifchiefes ftining.
Prof. Why, by what fhall I fweare by ? thou Ihalt
IS haue her by my foule.
Lo. iu. I pray the haue patience I am fatiffied : Pro-
fpero omit no offered occafion, that may make my defires
compleate I befeech thee.
Prof. I warrant thee. Exeunt.
n,g,i,7cd by Google
ACT IV, SC. V] Euery Man in Us Humour 1 77
ties, but, at any band, remember tbe meffage, to my
brother : for, there's no other meanes, to ftart him. i
Bray. I warrant you, fir, feare nothing: I haue a
nimble foule ha's wakt aJl forces of my phant'fie, by
this time, and put 'hem in true motion. What you
haue poffeft mee withall, lie difcharge it amply, fir.
Make it no queftion. <b
Wel. Forth, and profper, Brayke-worme. Faith, [51]
Ned, how doft thou approue of my abihties in this deuile ?
E. Kn. Troth, well, howfoeuer : but, it will come ex-
cellent, if it take.
Wel. Take, man ? why, it cannot chooXe but take, -s
if the circumltances mifcarrie not : but, tell me, in-
genuouDy, doft thou affect my lifter Bridget, as thou
pretend'ft ?
E. Kk. Friend, am I worth beliefe ?
Wel. Come, doe not proteft. In faith, fhee is a maid ">
of good ornament, and much modeftie : and, except I
conceiu'd very worthily of her, thou fhouldef t not haue her.
E. Kn. Nay, that I am afraid will bee a queftion yet,
whether I fhall haue her, or no ?
Wel. Shd, thou fhalt haue her ; by this hght, thou aj
Ihalt.
E. Kn. Nay, doe not (weare.
Wel. By this hand, thou Hialt haue her : He goe
fetch her, f^efently. Point, but where to meet, and as
I am an honeft man, I'll bring her. i o
E. Kn. Hold, hold, be temperate.
Wel. Why, by— what fhall I fweare by ? thou fhalt
haue her, as I am —
E. Kn. 'Pray thee, be at peace, I am fatisfied : and
doe beleeue, thou wilt omit no offered occafion, to make as
my defires compleat.
Wel. Thou fhalt fee, and know, I will not.
10 lExU. G 37 [Exeunt. G
n,g,i,7cd by Google
178 Euery man in his Humor [act iv. sc I
[60] ACTVS QVARTVS. SCENA PRIMA.
Enter Lorenzo fenior, Peic, meeting Mufco.
Peto. Was your man a fouldier fir.
Lo. I a knaue I tooke him vp beting vpon the way,
This moming as I was cumming to the citie.
Oh ? heare he is ; come on, you make fayre fpeede :
9 Why ? whereon Gods name faaue you beene fo long ?
Mitf. Maiy (Gods my comfort) where I thought I
fbould haue had little comfort of your worlhips feruice :
Lo. How fo ?
Muf. ph God fir ? your cmnming to the citie, &
>o your entertaynement of men, and your fending me to
watch ; indeede, all the circumftances are as open to your
fonne as to your felfe.
Lo. How fhould that be ? vnleffe that viUaine Mu/co
Haue told him of the letter, and difcouered
n All that I ftrictly chargd him to conceale ? tis foe.
Mttl. I fayth you haue hit it : tis fo indeede.
Lo. But how fhould he know thee to be my man.
Muf. Nay fir, I cannot tell ; vnleffe it were by the
blacke arte ? is not your fonne a fcholler fir ?
» Lo. Yes ; but I hope his foule is not allied
To fuch a diuelifh practife : if it were,
I had iuft caufe to weepe my part in him.
And curfe the time of his creation.
But where didft thou finde them PorUnfio ?
•) Ml*/. Nay fir, rather you Ihould afke where the found
me ? for ile be fwome I was going along in the ftreete,
thitilfing nothing, when (of a fuddayne) one calles, Sig-
nior Lorenzos man: another, he cries, fouldier : and thus
halfe a dofen of them, till they bad got me within doores,
30 where I no fooner came, but out flies their rapiers and
13 Mm/co] Mhsco B
n,g,i,7cd by Google
ACT IV, SC. Vlj Euery Man in his Humour 179
ACT nil. SCENE VI.
FORMALL, Kno'WEIX, BrAYNE-WORME.
"X^T^As your man a louldier, fir ?
Kno. I, a knaue, I tooke him begging o' the way.
This morning, as I came ouer More-fields !
O, here he is t yo' haue made (aire fpeed, beleeue me :
Where, i' the name of floth, could you be thus s
Bray. Mary, peace be my comfort, where I thought
I ihould haue had httle comfort of your worihips feruice.
Kno.. How fo?
Bray. O, fir ! your comming to the citie, your enter-
tainement of me, and your fending me to watch — indeed, ■<>
all the drcumftances either of your charge, or my im-
ployment, are as open to your fonne, as to your felfe !
Kno. How fhould that be ! vnlelfe that villaine,
Bhayne-worme,
Haue told him of the letter, and difcouer'd 's
AH that I ftrictly charg'd him to conceale ? 'tis fo I
Bray. I am, partly, o' the faith, 'tis fo indeed.
Kno. But, how fhould he know thee to be my man i
Bray. Nay, fir, I cannot teU; vnleffe it bee by the [521
black art I
Is not your fonne a fcholler, fir ?
Kno. Yes, but I hope his foute is not allied
Vnto fuch hellifh practife : if it were,
I had iuft caufe to weepe my part in him,
And curfe the time of his creation. 3,
But, where didft thou find them, Fitz-Sword ?
Bray. You fhould rather aske, where they found me,
fir, for. He bee fwome I was going along in the ftreet,
thinking nothing, when (of a fuddain) a voice calls, M'.
Kno-wel's man ; another cries, fouldier : and thus, halfe jo
a dofen of "hem, till they had cai'd me within a houfe
where I no looner came, but thy feem'd men, and out
Th» Old Jewry. Enter Faimal, and KnoweU. G A Slre*l. V/b.
Ga 3 [Enter BToinworm disguised as before. G 5 i'the]
i' 1716 6 be] by 1640, 1693, 1716 32 thy] they 1640+ exc. G»
n,g,i,7cd by Google
l8o Euery man in his Humor [ACTIV, sc I
all bent agaynft my brelt, they fwore fome two or three
hundreth oathes, and all to tell me I was but a dead
man, if I did not confeffe where you were, and how I
was imployed, and about what, which when they could
15 not get out of me : {as Gods my iudge, they Ihould haue
kild me firit) they lockt me vp into a roome in the toppe
[61] of a houle, where by great miracle (hauing a light hfirt)
I llidde downe by a bottome of packthread into the
ftreete, and fo fcapt : but maifter, thus much I can aflure
4° you, for I heard it while I was lockt vp : there were a
great many merchants and rich citizens wiues with them
at a banquet, and your fonne Signior Lorenzo, has poynted
one of them to meete anone at one Cobs houfe, a water-
bearers ? that dwelles by the wall : now there you fhall
*s be fure to take him : for fciyle he will not.
Lo. Nor will I fayle to breake this match, I doubt not ;
Well : go thou along with maifter doctors man.
And ftay there* for me ? at one Cobs houfe fayft thou. Exit.
Muj. I fir, there you fhall haue him : when can you
-=o tell ? much wench, or much fonne : fblood when he has
ftayd there three or foure boures, trauelling with the
expectation of fomewhat ; and at the length be deliuered
of nothing : oh the fport that I Ihould ths take to look
on him if I durft but now I meane to appeare no more
js afore him in this fhape : I haue another tricke to act yet ?
oh that I were fo happy, as to light vpon an ounce now
of this doctors clarke : God faue you fir,
Peto. I thanke you good fir.
Muf. I haue made you ftay fomewhat long fir.
*"' Peto. Not a whit fir, I pray you what fir do you
meane : you haue beene lately in the warres fir it feemes.
Muj. I Marry haue I fir.
Peio. Troth fir, I would be glad to beftow a pottle of
wine of you if it pleafe you to accept it.
n,g,i,7cd by Google
ACT IV, sc. VI] Euery Man in his Humour i8i
flue al their rapiers at my bofome, with (ome three or
foure fcore oathes to accompanie 'hem, & al to tel me,
I was but a dead man, if I did not confeffe where you 3s
were, and how I was imployed, and about what ; which,
when they could not get out of me (as I proteft, they
muft ha' dif[ected, and made an Anatomie o' me, firft,
and fo I told 'hem) they lockt mee vp into a roome i'
the top of a high houfe, whence, by great miracle (hauing ">
a light heart) I Aid downe, by a bottom of pack-thred,
into the ftreet, and fo fcapt. But, fir, thus much I can
aifure you, for I heard it, while I was lockt vp, there
were a great many rich merchants, and braue citizens
wiues with 'hem at a feaft, and your forme, W. Edward, 4s
with-drew with one of 'hem, iind has pointed to meet
her anon, at one Cobs houfe, a water-bearer, that dwells
by the wall. Now. there, your worfhip fhall be fure to
take him, for there he preyes, and faile he will not.
Kno. Nor, will! faile, to breake his match, I doubt not, s=
Goe thou, along with luftice Clement's man,
And ftay there for me. At one Cobs houfe, fai'ft thou ?
Bray. I fir> there you fhall haue him. Yes ? In-
uifible ? Much wench, or much fonne ! 'Slight, when
hee has ftaid there, three or iovae houres, trauelling with a
the expectation of wonders, and at length be deliuer'd
of aire : d, the fport, that I Ihoidd then take, to iooke
on him, if I durft ! But, now, I meane to appears no
more afore him in this fhape. I haue another trick, to
act, yet. O, that I were fo happy, as to light on a *»
nupfon, now, of this luftices nouice. Sir, I make you
ftay fomewhat long.
Form. Not a whit, fir. 'Pray you, what doe you
meane ? fir ?
Bray. I was putting vp fome papers *s
53 him [Exil Know.'] G
n,g,i,7cd by Google
Euery man in his Humor [ACT IV, SC, I
n,g,i,7cd by Google
ACT IV, SC. VI] Euery Man in his Humour 183
Form. You ha' beene lately in the warres, fir, it
Xeemes.
Bray. Mary haue I, fir ; to my lofCe : and expence
of aJl, ahnoft
FoRH. Troth fir, I would be glad to beftow a pottle t
of wine o* you, if it jdeafe you to accept it— ■
n,g,i,7cd by Google
184 Euery man in his Humor fACT IV, SC. I
*5 Muf. Oh Lord fir.
Peto. But to heare the manner of you feruifes, and
your deuiles in the warres, they fay they beveryftrange,
and not hke thofe a man reades in the Romane hiftories.
Mu/. Oh God no fir, why at any time when it pleale
'" you, I fhall be ready to defcourfe to you what I know :
and more to fomewhat.
Pelo. No better time then now fir, weeie goe to the
Meeremaide there we fhall haue a cuppe of neate wine,
I pray you fir let me requeft you.
J2] Mu{. He follow you fir, he is mine owne I fayth.
Exeunt.
Enter BabadiUo, Lorenzo iu. Matheo, Stephana,
Mat Signior did you euer fee the like cloune of him,
where we were to day : fignior Profperos brother ? I
thinke the whole earth cannot fhew liis hke by lefu.
Lo. We were now fpeaking of him, fignior BobadiUo
to telles me he is fallen foule of you two.
Mat. Oh I fir, he threatned me with the baltinado.
Bo. I but I think I taught you a trick this morning
for that. You fhall kill him without all queftion : if you
be fo minded.
>s Mat. Indeede it is a moft excellent tricke.
Bo. Oh you do not giue fpirit enough to your motion,
you axG too dull, too tardie : oh it muft be done Hke
lightning, hay ?
Mat. Oh rare.
90 Bob. Tut tis nothing and't be not done in a
Lo. iu. Signior did you neuer play with any of our
maifters here.
n,g,i,7cd by Google
ACT IV. sc. VII) Euery Man in his Humour 185
Bray. O, Xir
Form. But, to heare the manner of your leniices,
and your deuices in the wanes, they fay they be very
Itrange, and not like thofe a man reades in the Romane 7%
hiltories, or fees, at Mile-end.
Bray. No, I affure you, fir, why, at any time when [53]
it pieafe you, I fhali be readie to difcourfe to you, all
I know : and more too, (omewhat.
Form. No better time, then now, fir ; wee'll goe to *°
the wind-mill : there we fhall haue a cup of neate grift,
wee call it. I pray you, fir, let mee requeft you, to the
wind-mill.
Bray. He follow you, fir, and make grift 0' you, if
I haue good lucke. es
ACT nil. SCENE VII.
Matthew, Ed. Kno'well, Bobadiix, ^'
Stephen, Downe-right.
Olr, did your eyes euer taft the Uke clowne of him,
where we were to day, M'. Wel-bred's halfe brother ?
I thinke, the whole earth cannot fhew his paralell, by
this day-light.
E. Kn. We were now fpeaking of him : Captayne ■■
Bobaoil tells me, he is fall'n foule o' you, too.
Mat. O, I, fir, he threatned me, with the baftinado.
Bob. I, but I thinke, I taught you preuention, this
morning, for that — You fhall kill him, beyond queftion :
if you be fo generoufly minded. >'
Mat. Indeed, it is a moft excellent trick I
79 [Aaie. G 85 [Asida.] [ExemU. G Moorfidds. Enltr
Mathew, E. KnoweU, Bobadill, and Stephen. G A SIrttl. Wh,
Ga II [F»Hces. G
n,g,i,7cd by Google
Euery man in his Humor [ACT IV, SC. I
n,g,i,7cd by Google
ACT IV, SC VII] Euery Man in his Bumour 187
Bob. O, you doe not giue fpirit enough, to your^'-^^
motion, you are too tardie, too heauie I 6, it muft be po/i. "
done like lightning, hay ?
Mat. Rare Captayne [ 's
Bob. Tut, 'tis nothing, and 't be not done in a —
punto I
E. Kn. Captaine, did you euer proue your felfe, vpon
any of our maiters of defence, here ?
■2 He praetilts at a pojij] PraetUts at a post with his eudgtl. G
n,g,i,7cd by Google
i88 Euery man in his Humor [ACT IV, sc. i
Mat. Oh good fir.
Bob. Nay for a more inrtance of thek prepofterous
« humor, there came three or foure of them to me, at a
gentlemans houle, «*ere it was my chance to bee refident
at that time, to intreate my prefence at their fcholes, and
withall fo much importund me, that (I protelt to you as
I am a gentleman) I was afhamd of their rude demeanor
■» out of all meaiiire : well, I tolde them that to come to
a pubhque fchoole they Ihould pardoik one, it was oppo-
fite to my himior, but if fo they would attend me at
my lodging, I protefted to do them what right or fauour
I could, as I was a gentleman. 8cc.
"5 Lo. iu. So fir, then you tried their Ikill.
Bob. Alaffe foone tried : you fhall heare fir, within*
two or three dayes after, they came, and by lefu good
fignior beleeue me, I grac't them exceedingly, fhewd
them fome two or three trickes of preuention, hath got
"<• them fince admirable credit, they cannot denie this ; and
yet now they hate me, and why ? becaufe I am excellent,
and for no other realon on the earth.
Lo. iu. This is ftrange and vile as euer I heard.
[63] Bob. I will tell you fir vpon my firft comming to the
"s citie, they affaulted me fome three, foure, fiue, fix, of
them together as I haue walkt alone, in diuers places of
the citie ; as vpon the exchange, at my lodging, and at
my ordinarie : where I haue driuen them afore me the
whole length of a ftreete, in the open view of all our
"" gallants, pittying to hurt them beleeue me ; yet all this
lenety will not depreffe their fpleane : they will be doing
with the Pifmier, rayfing a hill, a man may fpume abroade
with his foote at pleafure : by my foije I could haue
flajme them all, but I delight not in murder : I am loth
■as to beare any othei but a baftinado for them, and yet
n,g,i,7cd by Google
ACT IV, SC. VII] Euery Man in his Himmr 189
Mat. O, good fir I yes, I hope, he has. ">
Bob. I will tell you, fir. Vpon my iirft comming to
the citie, after my long trauaile, for knowledge (in that
myfterie only) there came three, or foure of 'hem to me,
at a gentlemans houfe, where it was my chance to be
refident, at that time, to intreat my pretence at their 's
fcholes, and withall fo much importun'd mc, that (I pro-
teft to you as I am a gentleman) I was afham'd of their
rude demeanor, out of all meafure : well, I told 'hem,
that to come to a publike fchoole, they fhould pardon
me, it was oppofite (in diameter) to my himiour, but, if i<>
fo they would giue their attendance at my lodging, I
protefted to doe them what right or fauour I could, as
I was a gentleman, and fo forth.
E. Kn. So, fir, then you tried their skill ?
Bob. Alas, foone tried ! you fhall heare fir. Within 3%
two or three daies after, they came ; and, by honeftie,
faire fir, beleeue mee, I grac't them exceedingly, fhew'd
them fome two or three tricks of preuention, haue pur-
chas'd liem, fince, a credit, to admiration ! they caimot
denie this : and yet now, they hate mee, and why ? «o
becaufe I am excellent, and for no other vile reafon on
the earth.
E. Kn. This is ftrange, and barbarous ! as euer I [54]
heard I
Bob. Nay, for a more inftfmce of their prepofterous *-,
natures.butnote, fir. They haue af faulted me lomethree,
foure, fine, fixe of them together, as I haue walkt alone,
in diners skirts i' the towne, as Turne-buU, While-chappell,
Shore-ditch, which were then my quarters, and fince vpon
the Exchajige, at my lodging, and at my ordinaiie : where }<.
I haue driuen them afore me, the whole length of a
ftreet, in the open view of all our gallants, pittying to
31 to] to be 1640+ fxc. Ga
n,g,i,7c.dbyG00'^lc
Eaery man in his Humor [ACT IV, SC. I
n,g,i,7cd by Google
ACT IV, SC VII] Eaery Man in his Humour 191
hurt them, beleeue me. Yet, all this lenitie will not ore-
come their (pleene : they will be doing with the piXmier,
rayling a hill, a man may Ipume abroad, with his foot, *•■
at pleasure. By my lelfe, I could haue flaine them all,
but I dehght not in mm'der. I am loth to beare any
other then this baCtinado for "hem : yet, I hold it good
n,g,i,7cd by Google
192 Euery man in his Humor [ACT IV, SC. I
I hould it good poUicie not to goe difarmd, for though
I be fldlfull, I may be fupprettd with multitudes.
Lo.iu. I by lelu may you Ik and (in my conceite) our
whole nation Ihould fultayne the lolfe by it, if it were fo.
'JO Bob. Alaffe no : whats a peculier man, to a nation ?
not seene.
Lo. iu. I but your fldll fir.
Bob. Indeede that might be feme loffe, but who
refpects it ? I will tel you Signior (in priuate) I am a
■M gentleman, and liue here obfcure, and to my felfe : but
were I known to the Duke (obfenie me) I would vndertake
(vpon my heade and Ufe) for the publique benefit of the
ftate, not onely to fpare the intire lines of his fubiects
ingenerall, but to saue the one halfe : nay there partes
**° of his yeerely charges, in houlding warres genially agaynf t
all his enemies ? and how will I do it thinke you ?
Lo. iu. Nay I know not, nor can I conceiue.
Bo. Marry thus, I would felect 19 moreto my felfe,
throughout the land, gentlemS they fhould be of good
'♦s fpirit ; ftrong & able conftitutio, I would chufe ths by an
inftinct, a trick that I haue : & I would teach thefe 19. the
fpecial tricks, as your Punto, your Reuerfo, your Stoccato,
your Imbroccato, your Pa/fado, your Montaunto, till they
could all play very neare or altogether as well as my felfe.
^»" this done ; fay the enemie were forty thoufand ftrong :
we twenty wold come into the field the tenth of March,
or ther abouts ; & would challendge twenty of the enemie ?
they could not in there honor refute the combat : wel, we
[64] would kil them ; challenge twentie more, kill them ; twentie
»ss more, kill them ; twentie more, kill them too ; and thus
would we kill euery man, his twentie a day, thats twentie
f<ft>re ; twentie fcore, thats two hundreth ; two hundretb
a day, fine dayes a thoufand : fortie thoufand ; fortie
times fiue, fiue times fortie, two hundreth dayes killes
•*° them all, by computation, and this will I venture my life
n,g,i,7cd by Google
ACTiv, scvil] Euery Matt in his Humour 193
politic, not to goe difarm'd, for though I bee skilful!,
I may bee opprels'd with multitudes. *=
E. Kk. I.beleeueme, may you fir : and (in my conceit)
our whole nation fhould fuftaine theloffe by it, if it were fo.
Bob. Alas, no : what's a peculiar, man, to a nation ?
not feene.
E. Kk. O, but your skill, fir ! h
Bob. Indeed, that might be fome loffe ; but, . who
refpects it ? I will tell you, fir, by the way of priuate,
and vnder (eale ; I am a gentleman, and liue here ob-
fcure, and to my felfe : but, were I knowne to her Maieftie,
and the Lords (obferue mee) I would vnder-take (vpon 1*
this poore head, and hfe) for the pubhque benefit of the
ftate, not only to Ipare the intire hues of her fubiects
in generall, but to faue the one halfe, nay, three parts
of her yeerely charge, in holding warre, and againft what
enemie foeuer. And, how would I doe it, thinke you ? rs
E. Kn. Nay, I know not, nor can I conceiue.
Bob. Why thus, fir. I would felect nineteene, more,
to my felfe, throt^hout the land ; gentlemen they fhould
bee of good fpirit, ftrong, imd able conftitution, I would
choofe them by an inftinct, a character, that I haue : so
and I would teach thefe nineteene, the fpeciall rules, as
your Punto, your Reuerfo, your Sioccata, your Imbroccata,
your Pallada, your Monianto : till they could all play
very neare, or altogether as well as my felfe. This
done, fay the enemie were fortie thoufand ftrong, we s*
twentie would come into the field, the tenth of March,
or thereabouts ; and wee would challenge twentie of the
enemie ; they could not, in their honour, refufe vs, well,
wee would kill them : challenge twentie more, kill them ;
twentie more, kill them ; twentie more, kill them too ; »»
and thus, would wee kill, euery man, his twentie a day,
that's twentie fcore ; twentie fcore, that's two hundreth ;
two hundreth a day, fiue dayes a thoufand ; fortie thou-
fand ; fortie times fiue, fiue times fortie, two hundreth
dayes kills them all vp, by computation. And this, will »s
n,g,i,7cd by Google
194 Euery man in his Humor [ACT IV, SC, I
to perfortne : promded there be not treafon practifed
vpon vs.
Lo. iu. Why are you fo lure of your hand at all times ?
Bob. Tut, neuer miltruXt vpon my foule.
'*i Lo.iu. Malfe I. would not ftand in fignior Giuliano
ftate, then ; And you meete him, for the wealth of Florence.
Bob. Why fignior, by lefu if hee were heare now : I
would not draw my weapon on him, let this gentleman
doe his mind, but I wil baftinado him (by heauen) &
■J" euer I meete him.
Mat. Fayth and ile haue a fling at him.
Enter Giuliano and goes out agayne.
Lo. iu. I^oke yonder he goes I thinke.
Gut. Sblood what lucke haue I, I cannot meete with
thefe bragging rafcalls.
'" Bob. Its not he : is it ?
Lo. iu. Yes fayth it is he ?
Mat. lie be hangd then if that were he.
Lo. iu. Before God it was he ; you make me fweare.
Step. Vpon my faluation it was hee.
'*° Bob. Well had I thought it had beene he : he could
not haue gone fo, but I cannot be induc'd to beleeue it
was he yet.
Enter GiuUiano.
Gui. Oh gallant haue I found you ? draw to your
tooles, draw, or by Gods will ile threfh you,
'»s Bob. Signior heaie me ?
Gui. Draw your weapons then :
Bob. Signior, I neuer thought it till now . body of
S. George, I haue a warrant of the peace terued on me
euen now, as I came along by a waterbearer, this
'»<■ gentleman (aw it, fignior Matheo.
n,g,i,7cd by Google
ACT IV, SC. VII] Euery Mutt in his Humour 195
I venture my poore gentleman-Uke carcalfe, to performe
(prouided, there bee no trejifon practis'd vpon vs) by
faire, and difcreet manhood, that is, ciuiUy by the fword.
E. Kn. Why, are you to fure of your hand. Cap- [55]
taine, at all times ? '"
Bob. Tut, neuer miffc thruft, vpon my reputation
with you.
£. Kn. I would not ftand in Downe-rights Itate, then,
an 'you meet him, for the wealth ofany one Itreet in Lofkiow.
Bob. Why, fir, you miftake me ! if he were here '-s
now, by this welkin, I would not draw my weapon on
him t let this gentleman doe his mind : but, I will bafti-
nado him (by the bright funne) where-euer I meet him.
Mat. Faith , and lie haue a fling at him, at my diftance.
E. Kn. Gods fo', looke, where he is : yonder he goes. •■?
Dow. What peeuifh luck haue I, I cannot meet with rr^M
thefe bragging raskaUs ? '"'*'f.
Bob. It's not he ? is it ? j/a^.
E. Kn. Yes faith, it is he ?
Mat, He be bang'd, then, if that were he. "'3
E. Kn. Sir, keepe your hanging good, for feme greater
matter, for I affure you, that was he.
Step. Vpon my reputation, it was hee.
Bob. Had I thought it had beene he, he muft not
haue gone fo : but I can hardly be induc'd, to beleeue, ""
it was he, yet.
E. Kn. That I thinke, fir. But fee, he is come againe t
Dow. O, Phaeoahs foot, haue I found you ? Come,
draw, to your tooles : draw, gipfie, or He threlh you.
Bob. Gentleman of valour, I doe beleeue in thee, '■*
heare me
Dow. Draw your weapon, then.
Bob. . Tall nuin, I neuer thought on it, till now (body
of me) I had a warrant of the peace, ferued on me, euen
now, as I came along, by a water-bearer ; this gentleman '1°
law it, M'. Matthew.
Ill lir [Re-enter Downiigbt. G
n,g,i,7cd by Google
196 Euery raan in his Humor [ACT IV, sc. l
[65] Giu. The peace ? Sblood, you v\'iU not draw ?
Matheo runnes away.
Lo. iu. Hold f^nior hold, He beaUs him and difarmes
vndCT thy fauotir forebeare. him.
Giu. Prate agayne as you like this you whorelon
■9s cowardly rafcall, youle controule the poynt you ? your
conlort hee is gone ? had he ftayd he had Ihard with
yow infayth. Exit Giuilliano.
Bob. Well gentlemen beare witnelfe I was bound
to the peace, by lefu,
"* Lo. iu. Why and though you were fir, the lawe
alowes you to defend your felfe ; thats but a poore excule.
Bob. I cannot tell ; I neuer fuftayned the like dilgrace
(by heauen) ture I was ftrooke with a Plannet then,
for I had no power to touch my weapon. Exit.
>"> Lo. iu. I hke inough I haue heard of many that haue
beene beaten vnder a plannet ; goe get you to the Surgions,
fblood and thefe be your tricks, your palfados, & your
Mountauntos iienone of them : oh God that this age fhould
bring foorth fnch creatures ? come cofen.
"° Step. Maffe ile haue this cloke.
Lo. iu. Gods will : its GiuUtanos.
Step. Nay but tis mine now, another might haue tane
it vp aswell as I, ile weaie it fo I will.
Lo. iu. How and he fee it, heeie challenge it aflure
"li your felfe.
Step. I but he fhall not haue it ; ile fay I bought it.
Lo. iu. Aduise you cofen, take heede he giue not you
as much. Exeunt.
n,g,i,7cd by Google
ACT IV, sc, viij Euery Man in his Humour 197
Dow. 'Sdeatb, you will not draw, then ?
Bob. Hold, hold, vnder thy fauour, forbeare.
Dow. Prate againe, as you like this, you whorelon 4,^*^^
foilt, you. , You'le controll the point, you ? Your confort di/arma
is gone ? had he ftaid, he had fhar'd with you. Iir. *^' ^
Bob. Weil, gentlemen, beare witnefle, I was bound -et away.
to the peace, by this good day.
E. Kk. No faith, it's an ill day, Captaine, neuer
reckon it other : but, fay you were bound to the peace, 14s
the law allowes you, to defend your lelfe : that'll proue
but a poore excufe.
Bob. I cannot tell, fir. I defire good conftructioD,
in faire lort. I neuer fuftain'd the like difgrace {by
heauen) lure I was ftrooke with a plannet thence, for I mj
had no power to touch my weapon.
E. Kn. I, like inough, I haue heard of many that
haue beene beaten vnder a plannet : goe, get you to a
lurgean. 'Shd, an' thefe be your tricks, your -palfada's,
and yo\a%nowntanto's, lie none of them. 0, manners ! ijo
that this age fhould bring forth fuch creatures ! that (-55]
Nature fhould bee at leifure to make hem I Come, couffe.
Step. Malte. lie ha' this cloke.
E. Kn. Gods will, 'tis Downe-Right's.
Step. Nay, it's mine now, another might haue t^c iss
vp, afwell as I : lie weare it, fo I will.
E. Kn. How, an' he fee it ? hee'll challenge it, ailure
your felfe.
Step. I, but he Ihall not ha' it ; lie fay, I bought it.
E. Kn. Take heed, you buy it not, too deare, couffe. .«<.
'35 yont] you Ga 136 [Exit. G 150 them. [Exii Bob-
adiU. G 156 tane vp] taoc't vp 1640+ exc. Ga
160 {Exeunt. G
n,g,i,7cd by Google
jgS Euery man in his Humor [ACT IV, SC. I
Enter Thorello, Profpero, Biancha, Hefferida.
Tho. Now truft me Prolfero you were much to blame,
»o T'incenfe your brother and difturbe the peace.
Of my poore houfe, for there be fentinelles,
That euery minute watch to giue alarames.
Of ciuill warre, without adiection,
Of your affiftance and occafion.
■■5 Prol. No barme done brother I warrant you : fince
[66] there is no harme done, anger colts a man nothing : and
a tall man is neuer his owne man til he be angry, to keep
his valure in obXcuritie : is to keepe himfelfe as it were
in a cloke-bag : whats a munition vnleffe he play ? wbats
"3" a tall man vnlelfe he fight ? for indeede all this my
brother ftands vpon abfolutely, and that made me fall
in with him fo refolutely,
Bia. I but what harme might haue come of it ?
Proj. Might ? to might the good warme cloathes your
'3! hufband weares be poyfond for any thing he knowes,
or the wholefome wine he drunke euen now at the table.
Tho. Now God forbid: O me ? now I remember,
My wife drunke to me laft ; and changd the cuppe.
And bad me ware this curled fute to day,
»4° See, if God fuffer murder vndifcouered ?
I feele me ill ; giue me lome Mithredate,
Some Mithredate and oyle ; good filter fetch me,
O, I am ficke at hart : I bume, I bume ;
If you will (aue my life goe fetch it mee.
•45 Prof. Oh ftrange hinnor my very breath hath poy-
fond him.
Hel. Good brother be content, what do you meane.
by Google
ACTrv.SCVIlI] Ettery Man in his Humour 199
ACT im. SCENE vin.
KiTELY, Wel-bred, Dame Kit. Brid-
get, Brayne-worme,
Cash.
"VTOw, truft me brother, you were much to blame,
T' incenfe his anger, and diUurbe the peace.
Of my poore houle, where there are lentinells.
That euery minute watch, to giue alarmes,
Of ciuill warre, without adiection 5
Of your alfiftance, or occalion.
Well. No harme done, brother, I warrant you : fince
there is no harme done. Anger cofts a man nothing :
and a tall man is neuer his owne man, till he be angrie.
To keepe his valure in obfcuritie, is to keepe himfelfe, ■'
as it were, in a cloke-bag. What's a mulitian, vnlelle
he play ? what's a tall man, vnleffe he fight ? For,
indeed, all this, my wife brother ftands vpon, abfolutely :
and, that made me fall in with him, fo refolutely.
Dame. I, but what harme might haue come of it, '!
brother ?
Well. Might, filter ? fo, might the good warme
clothes, your hulband weares, be poyfon'd, for any thing
he knowes : or the wholefome wine he dnmke, euen now,
at the table
Kite. Now, god forbid : O me. Now, I remember,
My wife drunke to me, laft ; and chang'd the cup ;
And bade me weare this curled lute to day.
See, if heau'n fuffer murder vndilcour'd !
I feele me ill ; giue me tome miikridaie, '■
Some miihridate and oile, good filter, fetch me ;
O, I am ficke at heart t I bume, I bume.
If you will Xaue my life, goe, fetch it me.
Well. O, ftrange humour I my verie breath ha's
poyfon'd him. '■
Brid. Good brother, be content, what doe you meane ?
A Room in Kitely'a House. Enltr Kitely. Wellbred, damg Kitely,
nd Bridget. G
n,g,i,7cd by Google
200 Euery man in his Humoi [ACT IV, sc I
The ftrength of thele extreame conceites will kill you ?
Bia. Befhrew your hart blood, brother Pro/pero,
»so For putting fuch a toy into his head.
Prof. Is a fit fimilie, a toy ? will he be poyfond with
a limihe ?
Brother ThoreUo, what a Itrange and vaine imagination
is this ?
sjj For fhame be wifer, of my foule theres no fuch matter.
Tho. Am I not licke ? how am I then not poyfond ?
Am I not poyfond ? how am I then fo ficke ?
Bia. If you be ficke, your owne thoughts make you
ficke.
'«" Prol. His iealoucie is the poyfon he hath taken.
Enter Mufco like the doctors man.
Muf. Signior ThoreUo my maifter doctor Clement
(alutes you. and defires to Ipeake with you, with all
fpeede poffible.
Tho. No time but now ? well ile waite vpon his worfhip,
»*5 Pizo. Cob, ite feeke them out, and fet them (entinelles
[67] till I retume. Pizo. Cob, Pizo. Exit.
Prof. Mufco, this is rare, but how gotft thou this
apparrel of the doctors man.
Muf. Marry fir. My youth would needes beftow the
'7° wine of me to heare fome martiall difcourfe ; where I fo
marfhald him, that I made him monftrous drunke, &
becaufe too much heate was the caufe of his distemper,
I ftript him ftarke naked as he lay along a Deepe, and
borrowed his fewt to deliuer this counterfeit meffage in,
"* leauing a ruftie armoure, and an olde browne bill to
watch him ; till my retume : which fball be when I haue
paund his apparell, and fpent the monie perhappes.
Prof. Well thou art a madde knaue Mufco. his ab-
fence will be a good fubiect for more mirth : I pray the
"S" retume to thy youi^ maifter Lorenzo, and will him to
meete me and Hefperida at the Friery prelently : for here
n,g,i,7cd by Google
ACTIv,sc.viir| Euery Man in his Humour 201
The Itrength of thefe extreme conceits, will kill you.
Dame. Belhrew your heart-bloud, brother Well-
bred, now; for putting fuch a toy into his head. [57]
Well. Is a fit Itmile, a toy ? will he be poyfon'd as
with a simile ?
Brother Kitely, what a ftrange, and idle imagination
is this ? For fliame, bee wiler. O' my foule, there's no
fuch matter. ^
Kite. Am I not ficke ? how am I, then, not poyfon'd ? *-
Am I not poyfon'd ? how am I, then, fo ficke ?
Dame. If you be ficke, your owne thoughts make
you ficke.
Well. His iealoufie is the povfon, he ha's taken.
Bray. M'. Kitely, my mafter, luftice Clement, falutes disgitis'4
you ; and defires to fpeakewith you, with allpoffiblefpeed.^^^y^^^
Kite. No time, but now ? when, I thinke, I am
ficke ? very ficke ! well, I will wait vpon his worfhip,
Thomas, Cob, I muft feeke them out, and fet 'hem
fentinells, till I retume. Thomas, Cob, Thomas. ;<.
Well. This is perfectly rare, Brayne-worme I but
how got'ft thou this apparell, of the luftices man ?
Bhay. Mary fir, my proper fine pen-man, would needs
beftow the grift o'me, at the wind-mil, to hear forae
martial difcourfe ; where fo I marfhal'd him, that I made ^
him drunke, with admiration ! &, becaufe, too much heat
was the caufe of his dittemper, I ftript him ftarke naked,
as he lay along afleepe, and borrowed his fute, to dehuer
this counterfeit meffage in, leaning a niftie armor, and
an old browne bill to watch him, till my retume : which e..
fhall be, when I ha' pawn'd his apparell, and fpent the
better part o' the money, perhaps.
Well. Well, thou art a fucceftefull merry knaue,
Brayke-worme, his abfence will be a good fubiect for
more mirth. I pray thee, returae to thy yong mafter, ^5
and will him to meet me, and my filter Bridget, at the
tower instantly : foi, here, tell him, the houfe is so ftor'd
44 [Enttr Brainwonn dUguistd in Format's clotkes. G 50 [Exit, G
51 Bravnb-wokmbI llahes him aside.} G 53 fo I] I so G-f txe. N, Ga
n,g,i,7cd by Google
302 Euery man in his Humor [ACT IV, SCI
tell him the houfe is lo Iturde with iealoufie, that there
is no roome for loue to ftand vpright in : but ile vie luch
meanes Ihe fball come thether, and that I thinke wilt
='■- meete belt with his defires : Hye thee good Mufco.
Muf. I goe fir. Exit.
Enter Thorello to htm Pizo.
Tho. Ho Pizo, Cob, where are thefe viUaines tree ?
Oh. art thou there ? Pizo harke thee here :
Marke what I fay to thee, I mult goe foorth;
•9* Be carefull of thy promife, keepe good watch,
Note euery gallant and obferue him well.
That enters in my abfence to thy miltrilfe;
If fhe would Ihew him roomes, the ieaft is Itale,
Follow them Pizo or els hang on him,
"S5 And let him not go after, marke their lookes ?
Note if fhe offer but to fee his band.
Or any otber amorous toy about him.
But prayfe his legge, or foote, or if (he fay,
[68] The day is hotte, and bid him feele her hand,
3" How hot it is, oh thats a monftrous thing :
Note me all this, fweete Pizo; marke their fighes.
And if they do but wifper breake them off,
Ile beare thee out in it : wilt thou do this ?
Wilt thou be true fweete Pizo ?
s"! Pi. Moft true fir.
Tko. Thankes gentle Pizo: where is Cob ? now : Cob ?
Exit Thorello.
Bia. Hees euer calling for Cob, I wonder how hee
imployes Cob foe.
Prof. Indeede fifter to afke how he imployes Cob,
3"> is a necelfary queftion for you that are his wife, and a
n,g,i,7cd by Google
ACTiv, scvril] Every Man in kis Humour 303
with iealoufie, there is no roome for loue, to ftand vp-
right in. We mult get our fortunes committed to fome
larger prifon, fay ; and, then the tower, I know no better "
aire; nor where the libertie of the boufe may doe vs
more prefent feruice. Away.
Kite. Come hether, Thomas. Now, my fecret's ripe.
And thou fhalt haue it : lay to both tliine eares.
Harke, what I fay to thee. I muft goe forth, Thomas. 7s
Be careful! of thy promife, keepe good watch,
Note euery gallant, and obferue him well,
That enters in my abfence, to thy miftris :
If fhee would fhew him roomes, the ieft is ftale,
. Follow 'hem, Thomas, or elle hai^ on him, '<>
And let him not goe after ; marke their lookes ;
Note, if fhee offer but to fee his band.
Or any other amorous toy, about him ;
But praife his legge ; or foot ; or if fhee fay.
The day is hot, and bid him feele her hand, ■>
How hot it is ; 6, that's a monftrous thing 1 [58]
Note me all this, good Thomas, marke their fighes.
And, if they doe but whifper, breake 'hem off :
He beare thee out in it. Wilt thou doe this ?
Wilt thou be true, my Thomas ? Cas. As truth's »»
lelfe, fir.
Kite. Why, I beleeue thee : where is Cob, now ? Cob ?
Dahe. Hee's euer calling for Cob 1 I wonder, how
hee imployes Cob, fo I
Well. Indeed, fifter, to aske how hee imploies Cob, w
is a neceffarie queftion for you, that are his wife, and
7a [Eiiit Bnl. R»-$nl«r Kitely, taking asiSi (0 Cash. G
9a {Ent. G
n,g,i,7cd by Google
204 Euery man in his Humor [ACT IV, sc. I
thing not very eafie for you to be fatiffied in : but this
ile affure you Cobs wife is an excellent baud indeede : and
oftentimes your hufband hauntes her houle. marry to
what end I cannot altogether accufe him, imagine you
jis what you thinke conuenient : but I haue knowne fayre
hides haue foule hartes eare now, I can tell you.
Bia. Neuer fayd you truer then that brother ? Pizo
fetch your cloke, and goe with me, ite after him prefently :
I would to Chrift I could take him there I fayth.
Exeunt Pizo and Biancha.
).o pr0f_ So let them goe : this may make fport anone,
now my fayre filter Hefferida: ah that you knew how
happy a thing it were to be fayre and bewtifull ?
Hej. That toucheth not me brother.
Pro}. Thats true : thats euen the fault of it, for in-
j»s deede bewtie Itands a woman in no ftead, vnles it procure
her touching : but After whether it touch you or noe, it
touches your bewties, and I am fure they will abide the
touch, and they doe not a plague of al cerufe fay I, and
it touches me to inpart. though not in thee. Well,
3J6 theres a deare and refpected friend of mine filter, Itands
very ftrongly affected towardes you, and hath vowed to
inflame whole bonehres of zeale in his hart, in honor
of your perfections, I haue already engaged my promile
[69] to bring you where you Ihal heare him conferme much
3)t more then I am able to lay downe for him : Signior Lo-
renzo is the man : what fay you lifter (hall I intreate fo
much failour of you for my friend, is too direct and
attend you to his meeting ? vpon my foule he loues you
extreamely, approue it fweete Hefperida will you ?
J4D Hef. Fayth I had very little confidence in mine owne
conftancie if 1 durlt not meete a man : but brother Prof- ■
pero this motion of yours fauours of an olde kn^ht ad-
uenturers feruant, me thinkes.
329 thee] the B
n,g,i,7cd by Google
ACT IV, sc VIII] Euery Man in his Humour ' 205
a thing not very eafie for you to be fatisfied in : but this
lie allure you, Cobs wife is an excellent bawd, fifter,
and, often-times, your hufband hants her houfe, mary,
to what end, I cannot altogether accufe him, imagine "
you what you thinke conuenient. But, I haue knowne,
faire hides haue foule hearts, e're now, fifter.
Dame. Neuer faid you truer then that, brother, fo
much I can tell you for your learning. Thomas, fetch
your dobe, and gee with me. He after him prefently : "
I would to fortune, I could take him there, ifaith. Il'd
retiune him his owne, I warrant him.
Well. So, let "hem gee : this may make fport anon.
Now, my faire fifter in-law, that you knew, but how
happie a thing it were to be faire, and beautifuU?
Brid. That touches not me, brother.
Well. That's true ; that's euen the fault of it : for,
indeede, beautie ftands a woman in no Itead, vnleffe
it procure her touching. But, fifter, whether it touch
you, or no, it touches yoai beauties ; and, I am fure, they ■■
will abide the touch ; an' they doe not, a plague of all
cerufe, fay I : and, it touches mee to in part, though
not in the— Well, there's a deare and refpected friend of
mine, fifter, ftands very ftrongly. and worthily affected
toward you, and hath vow'd to inflame whole bone- ■'
fires of zeale, at his heart, in honor of your perfections.
I haue alreadie engag'd my promife to bring you, where
you fhall heare him confirme much more. Ned Kno'-
WELL is the man, fifter. There's no exception againft
the partie. You are ripe for a hufband ; and a minutes '■■
' loffe to fuch an occafion, is a great trefpaffe in a wife
beautie. What fay you, fifter ? On my foule hee loues
you. Wm you giue him the meeting ?
Brid. Faith, I had very little confidence in mine
owne conftancie, brother, if I durft not meet a man : •:
but this motion of yours, fauours of an old knight-ad-
uenturers feruant, a httle too much, me tbinkes.
104 me [ExiL Ctuk. G 107 [E«t(. G
n,g,i,7cd by Google
206 Euery man in his Humor [ACT IV, SC. I
Prol. Whats that XiXter.
"5 Hel. Marry of the Iqnire,
Prof. No matter Hefperida if it did, I would be fuch
an one for my friend, but fay, will you goe ?
He/. Brother I will, and blefle my happy ftarres.
Enter Clement and Thoretlo.
Clem. Why what villanie is this ? my man gone
?!° on a falfe meff^e, and ninne away when he has done,
why what trick is there in it trow ? i. z. 3. 4. and 5.
Tho. How: is my wife gone foorth, where is fhefifter ?
He/. Shees gone abrode with Pizo.
Tho. Abrode with Pizo } oh that villaine dors me,
3:i He hath difcouered all vnto my wife,
Beaft that I was to truft him : whither went fhe ?
Hef. I know not fir.
Prof. He tell you brother whither I fufpect fhees gone.
Tho. Whither for Gods fake ?
3'-> Prof. ToCobs houle I beleeue : but keepe my counlayle.
Tho. Iwill, IwiU.toCoishoufe ? doth fhe haunt Co&s,
Shees gone a purpofe now to cuckold me.
With that lewd rafcall, who to winne her fauour.
Hath told her all. Exit.
3^i Clem. But did you miftreffe fee my man bring him
a meffage.
Prof. That we did maifter doctor.
Clem. And whither went the knaue ?
[70] Prof. To the Taueme I thinke lir.
i:a Clem. What did Thorello giue him any thing to fpend
for the meff^e he brought him ? if he did I fhould
commend my mans wit exceedingly if he would make
himfelfe drunke, with the ioy of it, farewell Lady, keepe
good rule you two : I befeech you now : by Gods marry
37S my man makes mee laugh. Exit.
Prof. ■ What a madde Doctor is this ? come fifter
lets away. ExeutU.
n,g,i,.i.d by Google
ACT IV, sc. VIII] Eaery Man in fas Humour 207
Well. What's that, lifter ?
Brid. Mary, of the fquire.
Well. No matter if it did, I would be fuch an one ■»
for my friend, but lee I who is return 'd to hinder vs ?
Kite. What villanie is this ? call'd out on a falfe
melfage ?
This was fome plot ! I was not fent for. Bridget,
Where's your lifter ? Brid. I thinke fhee be gone '*«
forth, fir. [59]
Kite. How I is my wife gone forth ? whether for
gods fake ?
Brid. Shee's gone abroad with Thomas.
Kite. Abroad with Thomas ? oh, that villaine dors >4>
me.
He hath difcouer'd all vnto my wife I
Bealt that I was, to tnift him : whither, I pray you,
went fhee ?
Brid. I know not, fir. *y
Well. lie tell you, brother, whither I fufpect fhee's
gone.
Kite. Whither, good brother ?
Well. To Cobs houfe, I ■ beleeue : but, keepe my
counlaile. *a
Kite. I will, I will : to Cobs houfe ? doth fhee hant
Cobs?
Shee's gone a' purpofe, now, to cuckold me,
With that lewd rafkall, who, to win her fauour.
Hath told her all. Wel. Come, hee's once more gone. ««« '
Sifter, let's loofe no time ; th' affaire is worth it.
136 [Re-tnl»r Kitely. G
161 \_Exeunt. G
n,g,i,7c.dbyG00'^lc
208 Euery man ia hb Humor [ACT iv. sc. I
Enter Matheo and Bobadillo.
Mat. I wonder figiiior what they will lay of my
going away : ha ?
39° Bob. Why, what IhouM they fay ? but as of a dif-
creet gentleman.
Quick, wary, refpectfuU of natiires.
Fayre liniamentes, and thats all.
Mat. Why fo, but what can they fay of your beating 7
s'5 Bob. A rude part, a touch with foft wood, a kinde of
grolfe batterie vied, layd on ftrongly: borne molt pa-
dently, and thats all.
Mat. I but would any man haue offered it in Venice ?
Bob. Tut I aflure you no : you thall haue there your
39° Nobilis, your Gentelezza, come in brauely vpon your re-
uerfe, ftand you clofe, Itand you feime, ftand you fayre,
faue your retricato with his left legge, come to the affaulto
with the right, thruft with braue fteele, defie your bafe
wood. But wherefore do I awake this remembrance ?
39i I was bewitcht by lefu : but I will be reuengd.
Mat. Do you heare iXt not beft to get a warrant and
haue him arefted, and brought before doctor Clement.
Bob. It were not amiffe would we had it.
Enter Mufco.
Mat. Why here comes his man, lets fpeake to him.
*» Bob. Agreed, do you fpeake.
Mat. God faue you fir.
Mttf. With all my hart fir ?
Mat. Sir there is one GiuUiano hath abufd this gentle-
pi] man and me, and we determine to make our amendes
toi by law, now if you would do vs the ^uour to procure vs
a warrant for his areft of yoiir maifter, you fhall be well
confidered I affiire, I fayth fir.
Muf. Sir you know my ferui<x is my lining, fuch
n,g,i,7cd by Google
ACT rv. SC. IX] Euay Mm in his Humour 209
ACT nil. SCENE IX.
Matthew, Bobadil, Brayne-wosue, to thn
DOWNE-WGET.
f Wonder, Captayne, what they will fay of my going
away ? ha ?
Bob. Why, what Xhould they fay ? but as of a dif-
creet gentleman ? quick, wane, relpectfull of natures
faire lineaments : and that's all ? ^
Mat. Why, fo! but what can they fay of yoiu: beating?
Bob. a rude part, a touch with foft wood, a kind
of groffe batterie vs'd, laid on ftrongly, borne moft
patiently : and that's all.
Mat. I, but, would any man haue offered it in Venice ? '*
as you fay ?
Bob. Tut, I affure you, no: you Ihall haue there
your Nobilis. your GetUelezza, come in brauely vpon your
reuerfe, ftand you clofe, Xtand you firme, ftand you faire,
fane your retricato with his left legge, come to the alfalto ■*
with the right, thruft with braue Iteele, defle your bale
wood I But, wherefore doe I awake this remembrance ?
I was fafdnated, by Ivpiter : fafdnated : but I will be
vn-witch'd, and reueng'd, by law.
Mat. Doe you heare ? if t not bef t to get a warrant, and "
haue him arrefted, and brought before luftice Cleuent ?
Bob. It were not amiffe, would we had it.
Mat. Why, here comes his man, let's fpeake to him.
Bob. Agreed, doe you fpeake.
Mat. Saue you, fir. '5
Bray. With all my heart, fir ?
Mat. Sir, there is one Downe-right, hath abiis'd
this gentleman, and my felfe, and we determine to make
our amends by law ; now, if you would doe vs the fauour,.
to procure a warrant, to bring him afore your mastra:, [60]
you fhall bee well confidered, I affure you, fir.
Bray. Sir, you know my feruice is my lining, fuch
A Street. Enter Mathew. and Bobadill. G 32 [Enter Brain-
worm thiguised Hi Formal. G
n,g,i,7cd by Google
210 Euery man in his Humor [ACTIV, 5C. ■
fauours as thefe gotten of my mailter is his onely jffefer-
4*<> ment, and therefore jrou muft confider me, as I may make
benefit of my place.
Mat: How is that ?
Jiff*/. Fayth fir, the thing is extraordinarie, and the
gentleman may be of great accompt : yet be what he wiU,
♦" if you will lay me downe fiue crownes in my hand, you
Xhall haue it, otherwile not.
Mat. How fhall we do lignior ? you haue no monie.
. ' Bob. Not a croffe by lefu.
Mai. Nor I before God but two pence : left of my two
*" nulling in the morning for wine and cakes, let's giue
him lome pawne.
Bob. Pawne ? we haue none to the value of his
demaunde.
Mai, Oh Lord man, ile pawne this iewell in my eare,
4"! and you may pawne your filke ftockins, and piiU vp your
bootes, they will neare be mift.
Bob. Well and there be no remedie : ile ftep afide
and put them of.
Mat. Doe you heare fir, we haue no ftore of monie at
*y this time, but you fludl haue good pawnes, looke you fir,
this Iewell, and this gentlemans filke ftockins, because
we would haue it difpatcht ere we went to our chambere.
Muf. I am content fir, I will get you the warrant pre-
fently whats his name fay you (GiuUiano.)
*ii Mat. I, I, GiuUiano.
Muf. What manner of man is he ?
Mat. A tall bigge man fir, he goes in a cloake moft
conunonly of filke ruffet : layd about with niffet lace.
Muf. Tis very good fir.
*v Mat. Here fir, heres my iewell ?
[72] Bob. And heaxe are ftockins.
'n,g,i,7cd by Google
ACTIV.SCIX] Euery Man in his Httmour 2II
fauours as thefe, gotten of my malter, is his only pre-
ferment, and therefore, you mult contider me, as I may
make benefit of my place. 3;
Mat. How is that ? fir.
Bray. Faith fir, the thing is extraordinarie, and the
gentleman may be, of great accompt : yet, bee what
hee will, if you will lay mee downe a brace of angells,
in my hand, you ihall haue it, otherwife not. *•>
Mat. How fliall we doe, Captayne ? he askes a brace
of angells, you haue no monie ?
Bob. Not a croffe, by fortune.
Mat. Nor I, as I am a gentleman, but two pence,
left of my two fhillings in the momii^ for wine, and *^
redifh : let's find him fome pawne.
Bob. Pawne ? wehauenonetothevalueof hisdemand.
Mat, O, yes. I'U pawne this iewell in my eare, and
you may pawne your filke ftockings, and pull vp your
bootes, they will ne're be mift : It muft be done, now. s"
Bob, Well, an' there be no remedie : lie ftep afide,
and pull "hem off.
Mat. Doe you heare, fir ? wee haue no Itore of monie
at this time, but you fhaU haue good pawnes : looke
you, Ik. this iewell, and that gentlemans filke ftockings, si
becaufe we would haue it difpatcht, e're we went to our
chambers.
Bray. I am content, fir ; I will get you the warrant
prefently, what's his name, fay you? Downe-right?
Mat. I, I, George Downe-right. <^
Bray. What manner of man is he ?
Mat. a tall bigge man, fir ; hee goes in a cloke,
moft commonly, of filke ruffet, laid about with ruf let lace.
Bray. Tis very good, fir. "
Mat. Here fir, here's my iewell ? **
Bob. And, here, are ftockings.
5a [Wilhdravis. G 66 Bob. [nluming.'] G
n,g,i,7cd by Google
212 Euery man in his Humor (ACTV, sc, i
Muf. Well gentlemen ile procure this waarrant pre- -
lently, and appoynt you a varlet of the citie to feme it,
if youle be vpon the Realto anone, the varlet fliall meete
s you there.
Mat. Very good fir I wifh no better.
Exeunt Bobadilla and Matheo.
Muf. This is rare, now will I goe pawne this cloake
of the doctors mans at the brokers for a varlets fute, imd
be the varlet my felfe, and get eyther more pawnes, or
" more money of GiuUiano for my arreft. Exit.
ACTVS QVINTVS. SCENA PRIMA.
Enter Lorenzo fenior. ,
Lo. /e. Oh heare it is, 1 am glad I haue found it now.
Ho ? who is within heare ? Enter Tib.
Tib. I am within fir, whats your pleafure ?
Lo. /e. To know who is within befides your felfe.
s Tib. Why fir, you are no conf table I hope ?
Lo. le. O feare you the conltable ? then I doubt not.
You haue fome guefts within deferue that feare.
Ile fetch him ftraight.
Tib. A Gods name fir.
I" Lo. fe. Go to, tell me is not the young Lorenzo here ?
Tib. Young Lorenzo, I faw none fuch fir, of mine
honeftie.
Lo. fe. Go to, your honeftie flies too lightly from you :
Theres no way but fetch the conftable.
'i Tib. Theconftable,themanismadIthink. Claps to the door e.
Enter Pizo, and Biancha.
Pizo. Ho, who keepes houfe here ?
Lo. le. Oh, this is the female copef-mate of my lonne.
Now fhall I meete him ftraight.
Bia. Knocke Pizo pray thee.
n,g,i,7cd by Google
ACT IV, SC X] Euery Man in Ms Humour 213
Bray. Well, gentlemen. He procure you this warrant
preXently, but, who will you haue to lerue it ? .
Mat. That's true, Captaine : that mult be confider'd.
Bob. Bodie o' me, I know not I 'tis feruice of danger ? '<>
Bray. Why, you were beft get one o' the varlets o'
the citie, a lerieant. He appoint you tme, if you pleafe.
Mat. Will you, fir ? why, we can wifh no better.
Bob. Wee'll leaue it to you, fir.
Bkay. This is rare ! now, will I goe pawne this 75
cloke of the luftice's mans, at the brokers, for a varlets
fute, and be the varlet my felfe; and get either more
pawnes, or more monie of Downe-hight, for the arreft.
ACT nil. SCENE X. [61]
KNo'wEt, Tib, Cash, Daue Kitely,
Kitely, Cob.
C\R, here it is. I am glad : I haue fouind it' now.
Ho ? who is within, here ?
Tib. I am within, fir, what's your pleafure ?
Kno. To know, fl*o is within, befides yourfelfe.
Tib. Why, fir, you are no conftable, I hope ? 5
Kno. O t feare you the conftable ? then, I doubt not.
You have fome guefts within, deferue that feare.
He fetch him ftraight. Tib. O' gods name, fir.
Kno. Goeto. Come,teilme,IsnotyongKNo'wEL,here?
Tib. Yong Kno-wel ? I know none fuch, fir, 0' mine 10
honef tie !
Kno. Yourhoneftie? dameiitfliestoolightlyfromyou :
There is no way, but, fetch the conftable.
Tib. The conftable ? the man is mad, I thinke.
Cas. Ho, who keepes houle, here ? i»
Kno. O, this is the female copef-mate of my frame ?
Now fhall I meet him ftraight. Dame. Knock, Tho-
mas, hard.
74 {Exeunt. Bob. and Mai. G 78 [Exit. G Th« Lane btfora Cob's
Houie. Enler Knowell. G 3 Tib. [wHkin.] G 8 Itraight. [Enter
Tib. G 14 [Exit, andclaps to the door. £n/«r(f(>fli( Kitely oxci Cash. G
n,g,i,7cd by Google
214 Euery mao in bis Humor [act V, sc. I
•» Pi. Ho good wife.
Tib. Why whats the matter with you. Enter Tib.
Bia. Why woman, grieues it you to ope your dome ?
BeUke you get Xomething to keepe it fhut.
Tit). What meane thele queftions pray ye ?
[73] Bia. S) ftrange you make it ? is not ThoreUo ray
tryed hufband here.
Lo. je. Her hufband ?
Tib. I hofw he needes not be tryed here.
Bia. No dame : he both it not for neede but pleafure.
30 Tih. Neyther for neede nor pleafure is he here.
Lo. je. This is but a deuife to balke me with al ;
Soft whoes this ? EiUer ThoreUo.
Bia. Oh fir, haue I fore-ftald your honeft market ?
Foimd your clofe walkes ? you ftand ama^d now, do you ?
35 I fayth (I am glad) I haue fmokt you yet at laft ;
Whats your iewell trow ? In : come lets fee her ;
Fetch foorth your hufwife, dame ; if fhe be fayrer
IJi any honeft iudgement then my felfe,
He be content with it : but Ihe is chaunge,
4° She feedes you fat ; Xhe foothes your appetite.
And you are well : your wife an honeft woman,
Is meate twife lod to you fir ; A you trecher.
Lo. fe. She cannot counterfeit this palpably.
Tho. Out on thee more then ftrumpiets impudencie,
*i SteaUt thou thus to thy hauntes ? and haue I taken.
Thy baud, and thee, and thy companion ?
This hoary headed letcher, this olde goate
Clofe at your villanie, and wouldft thou fcufe it,
With this ftale harlots ieft, accufing me ?
s" O ould incontinent, doft thou not Oiame,
When all thy powers inchaftitie is fpent.
n,g,i,7cd by Google
ACT IV, SC. X] Euery Man in his Humour 215
Cas. Ho, good wife ? Tm. Why, what's the matter
with you ?
Dame. Why, woman, grieues it you to ope' your doore ?
Belike, you get fomething, to keepe it fliut.
Tib. What meane thele queltions, 'pray yee ?
Dame. So ftrange you make it ? is not my hufband,
here ? '3
Kno. Her hufbandl
Dame. My tryed hulband, matter Kitely.
Tib. I hope, he needes not to be tryed, here.
Dahe. No, dame : he do's it not tor need, but pleafure.
Tib. Neither for need, nor pleafure, is he here. i-
Kno. This is but a deuice, to balke me withall.
Soft, who is this ? 'Tis not my tonne, difguisd ?
Dame. O, fir, haue I fore-ftald your honeft market ? -s*" tf«*
Found your clofewalkes? youftandamaz'd,now, doeyou?ja„^„^.
I faith (I am glad) I haue fmokt you yet at laft I andnmnes
What is your iewell trow ? In : come, lets fee her ; " '"'
(Fetch forth your hufwife, dame) if fhee be fairer.
In any honeft iudgement, then my felfe,
lie be content with it : but, fhee is change,
Shee feedes you fat, fhee foothes your appetite, 4=
And you are well ? your wife, an honeft woman, [62]
Is meat twice fed to you, fir ? O, you trecher !
Kno. Shee cannot counterfeit thus palpably.
Kite. Out on thy more then ftrumpets impudence !
Steal'ft thou thus to thy haunts ? and, haue I taken '^
Pointing Xhy bawd, and thee, and thy companion,
jt-„„.^;/_ This horie-headed letcher, this old goatr
Clofe at your villanie, and would'ft thou 'fcufe it.
With this ftale harlots ieft, accufing me ?
Te kitit.O, old incontinent, do'ft not thou Ihame, s"
When all thy powers in chjiftitie is fpent,
19 wife? [Re-enter Tib. G 31 lEnltr Kitely, muffled in hit
tloaM. G 44 Itrnmpets] ftrumpet 1640+ exc. Wh, N, Ga
'n,g,i,7cd by Google
2l6 Euery man in his Humor [ACTV, SC. I
To haue a minde fo hot ? and to entife
And feede the intifements of a luftfull woman ?
Bia. Out I deiie thee I, delembling wretch:
»! Tho. Defie me Xtrumpet ? aOte thy paunder here.
Can he denie it ? or that wicked elder.
Lo. fen. Why heare you [ignior ?
Tho. Tut, tut, neuer fpeake.
Thy guiltie conlcience will difcouer thee :
*" Lo. fe. What lunacie is this that haunts this man ?
[74] Enter GiuUiano.
Giu. Oh filter did you fee my cloake ?
Bia. Not I, I fee none.
Giu. Gods life I haue loft it then, faw you Hefperida t
Tho. Hefperida 7 is fhe not at home
*s Giu. No fhe is gone abroade, and no body can tell
me of it at home. Exit.
Tho. Oh heauen, ? abroade ? what light 7 a harlot
too?
Why ? why ? harke you, hath fhe ? hath Ihe not a
JO brother ?
A brothers houfe to keepe ? to looke vnto ?
But fhe rauft £ing abroade, my wife hath Ipoyld her.
She takes right after her, fhe does, fhe does,
Well you goody baud and Ettier Cob,
n That make your hufband fuch a hoddy dody ;
And you young apple fquire, and olde cuckold maker.
He haue you euery one before the Doctor,
Nay you fhall anfwere it I chargde you goe.
Lo. fe. Marry withall my hart, ile goe willingly : how
»• haue I wronged my felfe in comming here.
Bi. Go with thee 7 ile go with thee to thy (hame,
I warrant thee.
Cob. Why whats the matter ? whats here to doe f
Tho. What Cob art thou here ? oh I am abufd,
>5 And in thy houfe, was neuer man fo wrongd.
by Goo l^ I c
ACTIV.SCX] Every Man in his Humour 217
To haue a mind fo hot ? and to entice.
And feede th' enticements of a luftfull woman ?
Pake. Out, I defie thee, I, diHembling wretch.
S:y Kite. Defie me, ftnunpet 7 aske thy pandar, here, <!
^*"'~"- Can he denie it ? or that wicked elder ?
Kno. Why, heare you, fir. Kite. Tut, tut, tut :
neuer fpeake.
Thy guiltie confcience will difcouer thee.
Kno. What lunacie is this, that hants this man ? *•
Kite. Well, good-wife B A'D, Cobs wife ; and you.
That make your huXband f uch a hoddieKloddie ;
And you, yong apple-Iquire ; and old cuckold-maker ;
lie ha' you euery one before a lultice :
Nay, you fhall anlwere it, I charge you goe. *i
Kno. Marie, with all my heart, fir : I goe willingly.
Though I doe taft this as a trick, put oa me.
To punilh my impertinent learch ; and iuftly :
And halfe forgiue my fonne, for the deuice.
Kite. Come, will you goe ? Dame. Goe ? to thy »•
ibame, beleeue it.
Cob. Why, what's the matter', here ? What's here
to doe?
Kite. O, Cob, art thou come ? I haue beene abus'd.
And i* thj^ houfe. Neuer was man fo, wrcmg'd 1 's
71 [EHl4r Cob. G
n,g,i,7cdbyGoogJe
2l8 Euery man in his Humor [ACTV.SC.I
Cob. Slid in my houfe ? who wrongd you in my
houfe ?
Tho. Marry young lult in olde, and dde in young here.
Thy wlfes their baud, here haue I taken them.
9° Cob. Doe you here ? did I not charge you keepe your ti* »«ai
dores Xhut here, and do you let them lieopen for all *" "^'
comers, do you scratch.
Lo, je. Friend haue patience if flie haue done wrong
in this let her anfwere it afore the Magiftrate.
9' Cob. I, come, you Ihall goe afore the Doctor.
Tib. Nay, I will go, ile fee and you may be aloud to
beate your poore wife thus at euery cuckoldly knaues
pleafure, the Diuell and the Pox take you alt for me:
why doe you not goe now,
[76] Tho. A bitter queane, eome weele haue you tamd. Exeunt
Enter Mufco alone.
Muf. WeU of all my difguifes yet now am I moft like
my felfe, beeing in this varlets fuit, a man of my prefent
profeffion neuer counterfeites till he lay holde vpon a
debtor, and fayes he refts him, for then he bringes him
») to al manner of vnreft ; A kinde of httle kings we are,
bearing the diminitiue of a mace made like a young Harte-
chocke that alwayes carries Pepper and falte in it felfe,
well I know not what danger I vnder go by this exploite,
pray God I come well of.
Enter Bobadilla and Matheo.
■" Mat. See I thinke yonder is the varlet.
Bob. Lets go inqueft of him.
n,g,i,7cd by Google
ACTIV, SC XI] Euery Man in kis Humour 2ig
Cob. Slid, in my houle ? my mafter Kitely ? Who
wrongs you in my houfe ?
Kite. Marie, yong lu(t in old ; and old in yong, here ;
Thy wife's their bawd, here haue I taken 'hem.
j/e faiu Cob. How ? bawd ? Is my houfe come to that ? Am »«
^fland ^ prfif^f '<1 thether ? Did I charge you to keepe your
rates An-.dores Ihut, Is'bel ? and doe you let 'hem lie open for
all commers ?
Kno. Friend, know fome caufe, before thou beat'ft
thy wife, »s
This's madneffe, in thee. Cob. Why ? is there no caufe ?
Kite. Yes, lie fhew caufe before the luftice. Cob :
Come, let her goe with me. CoB. Nay, fhee Ihall goe. [68]
Tib, Nay, I will goe. He fee, an' you may bee
aUow'd to make a bundle o' hempe, o', your right and v
lawfull wife thus, at euery cuckoldly knaues pleafure.
Why doe you not goe ?
Kite, a bitter queane. Come, wee'U ha' you tam'd.
ACT IIII. SCENE XI.
Brayne-worme, Matthew, Boba-
DiL, Stephek, Downe-
RIGHT.
^A 'Ell, of all my difgiiifes, yet, now am I moft like my
felfe : being in this Serjeants gowne. A man of
my prefent profcffion, neuer counterfeits, till hee layes
hold vpon a debter, and fayes, he relts him, for then
hee brings him to all manner of vnreft. A kinde of Uttle »
kings wee are, bearing the diminutine of a mace, made
like a yong artichocke, that alwayes carries pepper and
fait, in it felfe. Well, I know not what danger I vnder-
goe, by this exploit, pray hcauen, I come well of.
Mat. See, I thinke, yonder is the varlet, by his gowne. •■»
Bob. Let's goe, in queft of him.
93 [ Eriunt. G A Stteel. Enter Brainworm ^isgutstd as a
eitv ftneanl G 9 {Ealer Mathpw and Boliadilt. G
n,g,i,7cd by Google
230 Euery man in his Humor [ACTV, SCI
Mat. God faue you friend, axe not you here by the
appoyntment of doctor ClematUs man.
Muf. Yes and pleale you fir, he told me two gentle-
"i men had wild him to jn-ocure an areft vpon one fignior
GivUiano by a warrant from his maifter, which I haue
about me.
Mat. It is honeftly done of you both, and lee where
hee corns you muft areft, vppon him for Gods fake be-
"* fore hee beware.
Enter Stephano.
Boh. Beare backe Matheo ?
Muf. Signior GiuUiano I areft you fir in the Dukes
name.
Step. Signior GiuUiano ? am I fignior GiuUiano ? I
'■I am one fignior Stephano I teU you, and you do not well
by Gods Aid to areft me, I tell you truely ; I am not in
your maifters bookes, I would you fhould well know I :
and a plague of God on you for making me afrayd thus.
Muf. Why, how are you deceiued gentlemoi ?
ijo Boh. He weares fuch a cloake, and that deceiued vs.
But fee here a corns, officer, this is he.
Enter GiuUiano.
Giu. Why how now fignior gull: are you a tumd
flincher of late, come deliuer my cloake.
Step. Your cloake fir ? I bought it euen now in the
'ss market.
[76] Mu}. Signior GiuUiano I muft areft you fir.
Giu. Arreft me fir, at whofe fuite 7
Muf. At thefe two gentlemens.
Giu. I obey thee varlet; but for thefe villianes
'*" Muf. Keepe the peace I charge you fir, in the Dukes
name Sir.
Giu. Whats the matter varlet ?
Muf. You muft goe before maifter doctor Clement fir,
to anfwere yiha-t thefe gentlemen will obiect agaynft you,
*4s harke you fir, I will vfe you kindely.
n,g,i,7cd by Google
ACT IV, SC. XI] Euery Man in his Humour 221
Mat. 'Saue you, friend, are not you here, by appoint-
ment of luftice Clements man.
Bray. Yes, an't pleafe you, fir : he told me two
gentlemen had will'd him to procure a warrant from his 's
mafter (which I haue about me) to be feru'd on one
DOWttE-RIGHT.
Mat. It is honeltly done of you both ; and fee, where
the partie comes, you muft eirreft: feme it vpon him,
quickly, afore hee bee aware ">
Bob. Beare backe, mafter Matthew.
Bray. Mafter Downe-right, I arreft you, i' the
queenes name, and muft carry you afore a luftice, by
vertue of this warrant.
Step. Mee, friend ? I am no Downe-righi, I. I am 's
mafter Stephen, you doe not well, to arreft me, I tell
you, truely: I am in nobodies bonds, nor bookes, I,
would you fhould know it. A plague on you heartily,
for making mee thus afraid afore my time.
Bray. Why, now are you deceiued, gentlemen ? y
Bob. He weares fuch a cloke, and that deceiued vs :
But fee, here a comes, indeed ! this is he, officer.
Down. Why, how now, fignior gull ! are you tirni'd
filtcher of late ? come, deliuer my cloke.
Step. Your cloke, f ir ? I bought it, euen now, in [64]
open market.
Bray. Mafter Downe-right, I haue a warrant I
muft ferue vptm you, procur'd by thefe two gentlemen.
Down. Tliefe gentlemen ? thefe rafcals ?
Bray. Keepe the peace, I charge you, in her Maiefties 4°
name.
Down. I obey thee. What muft I doe, officer ?
Bray. Goe before, mafter luftice Cleuent, to an-
fwere what they can obiect againft you, fir. I will vfe
you kindly, fir. <s
II [Enter Stephen in Downright's cloak. G 32 [Entar Down-
right. G 39 [Offtrs to beat them. G 43 before,] before 1693-t-
n,g,i,7cd by Google
202 Eaery man in his Hamor [ACT V. SC I
Mat. Weele be euen with yoa fir, come fignior Bo-
badiUa. weele goe bef<»e and prepare the doctor : varkt
looke to him. Exeunt Bobadilla and Matbeo.
Bob. The varlet is a tall man by lefu.
■s" Giu. Away you rafcalles,
Signior I Ihall haue my cloake.
Step. Your cloake : I fay once agayne I bought it,
and Ue keepe it.
Giu. You will keepe it ?
•n Step. I, that I will.
Giu. Varlet hay, beres thy fee aneft him.
M«/. Signior Stephana I arreft you.
Step. Arreft me ? there take your cloake : ile none
of it.
"" Giu. Nay that fhall not feme your tume, varlet,
bring him away, ile goe with thee now to the doctors,
and carry him along.
Step. Why is not here 3n}ur cloake ? what would
you haue ?
"■i Giu. I care not for that.
Muf. I pray you fir.
Giu. Neuer talke of it ; I will haue him anfwere it.
Mul. Well fir then ile leaue you, ile take this gentle-
mans woorde for his appearance, as I haue done yours.
•'" Giu. Tut ile haue no woordes taken, bring him along
to anfwere it.
Mu{. Good fir I pitie the gentlemans cafe, heres your
monie agayne.
[77] Giu. Gods bread, tell not me of my monie, bring him
')j away I fay.
Muf. I warrant you, he will goe with you of himfelfe.
Giu. Yet more adoe ?
Muf. I haue made a fayre mafhe of it.
n,g,i,7cd by Google
ACT IV, SC, XI] Euery Man in his Humour 233
Matt. Come, let's before, and make the lultice, Cap-
taine
Bob. The varlet's a tall man ! afore heauen !
Down. Gull, you'll gi' me my cloke ?
Step. Sir, I bought it, and I'le keepe it.
DowK. You will. Step. I, that I will. 5=
Down. Officer, there's thy fee, arreXt him.
Bray. Mafter Stephen, I muft arreft you.
Step. AireXt mee, I fcome it. There, take your cloke,
I'le none on't.
Down. Nay, that Ihall not feme your tume, now, »
fir. Officer, I'le goe with thee, to the luftices : bring
him along.
Step. Why, is not here your cloke ? what would
you haue ?
Down. I'le ha' you emlwere it, fir. *«
Bray. Sir, I'le take your word ; and this gentlemans,
too : for his apparance.
Down. I'le ha' no words taken. Bring him along.
Bray. Sir, I may choofe, to doe that ; I may take
bayle. , *s
Down. 'Tis true, you may take baile, and choofe ;
at, another time : but you fhall not, now, varlet. Bring
him aloi^, or I'le fwinge you.
Bray. Sir, I pitty the gentlemans cafe. Here's your
money againe. t-
Dow. 'Sdeynes, tell not me of my money, bring him
away, I fay.
Bray. I warrant you he will goe with you of him-
feUe, fir.
Dow, Yet more adoe ? ''■■
Bray. I haue made a faire mafh aa'i.
47 [Exfvnt Bob. and Mat. G
n,g,i,7cd by Google
324 Euery man in his Humor [ACTV.'sc. 1
Step. Muft I goe ? Exeunt.
Enter doctor dement, Thorello, Lorenzo le. Biancha,
Pizo, Tib, a feruant or two of the Doctors.
I" Clem. Nay but ftay, ftay giue me leave ; my chayre
firha ? you fignior Lorenzo lay you went thether to
meete your fonne.
Lo. fe. I fir.
Clem. But who directed you thether ?
'i Lo. fe. That did my man lir 7
Clem. Where is hee ?
Lo. le. Nay I know not now, I left him with your
clarke.
And appoynted him to Itay here for me.
» Clem. About what time was this ?
Lo. fe. Marry betweene one and two as I take it.
Clem. So, what time came my man with the meflago
to you Signior Thorello ?
Tho. After two fir.
« Clem. Very good, but Lady how that you were at
Cobs: haP
Bia. And pleafe you fir, ile tell you : my brother Pro-
ffero tolde me that Cobs houfe was a fufpected place.
Clem. So it appeares me thinkes ; but on.
n,g,i,7cd by Google
N^L
ACT V, SCI] Euery Man in his Humour 225
Step. Muft I goe ?
Bray. I know no remedie, mafter Stephen.
Down. Come alcaig, aiore mee, here. I doe not loue
your hanging looke behind. *"
Step. Why, fir. I hope you cannot hang mee for it.
Can hee, fellow ?
Bray. I thinke not, fir. It is but a whipping matter,
furel
Step. Why, then, let him doe his worft, I am refolute. «s
ACT V. SCEliE I. [66]
Clement, Kno'wel, Kitely, Dame
KiTELY, Tib, Cash, Cob,
Servants.
y, but ftay, ftay, giue me leaue : my cbaire, firrha.
You, malter Kno'well, fay you went thither to
meet your fonne.
Kno. I, (ir.
Clem. But, who directed you, thither ? s
Kno. That did mine owne man, fir.
Clem. Where is he ?
Kno. Nay,Ikii'ownot,now;Ilefthimwithyo\ircIarke:
And appointed him, to ftay here for me.
Clem. My clarke ? about what time, was this ? ■<>
Kno. Mary, betweene one and two, as I take it.
Clem. And. what time came my man with the falfe
meffage to you, mafter Kitely ?
■ Kite. After two, fir.
Clem. Very good : but, miftris Kitely, how that 's
you were at Cobs ? ha ?
Dame. An' pleafe you, fir, De tell you : my Iffother,
Wel-bred, told me, that Cobs houfe, was a fufpected
place
Clem. So it appeares, me thinkes : but, on. *"
85 [Exevnl. G Coleman Street. A Halt m jusliet CUmenl's
Houf» G Tj how] hew chance 1640-f
n,g,i,7cd by Google
226 Euery man in hk Humor [ACT V. SC. I
*» Bia. And that my hufband vfed thether dayly ;
CUm. No matter, fo he vie himfeUe well.
Bia. True lir, but you know what growes by fuch
haunts oftentimes.
CUm. I, ranke fruites ol a iealous brajme Lady : but
'<•$ did you finde your hufband there in that cafe, as you
fufpected.
Tho. I fotmd her there fir.
Clem. Did you fo 7 that alters the cafe ; who gaue
you knowledge of your wiues beeing there ?
"o Tho. Marry that did my brother Prolfero.
[78] Clem.. How Profpero, firft tell her, then tell you after ?
where is Profpero.
Tho. Gone with my fifter fir, I know not whither.
Clem. Why this is a meare tricke, a deuife ; you are
..1 gulled in this moft grofly : alaffe poore wench wert thou
beaten for this, how now firha whats the matter ?
Enter one of the Do. men.
Ser. Sir theres a gentleman in the court without de<
fires to fpeake with your worfhip.
Clem. A gentleman ? whats be ?
"" Ser. A Souldier, fir, he fayeth.
Clem. A Souldier ? fetch me my armour, my fworde,
quickly a fouldier fpeake with me, why when kaaues, —
come on, come on, bold my cap there, fo ; giue me my
gorget, my Iword ftand by I will end your matters anone ;
let the fouldier enter, now fir what haue you to fay
"s to me ?
n,g,i,7cd by Google
ACTV, SC I] Euery Man in his Humour 227
Daue. And that my hufband vs'd thither, daily.
Clem. No matter, fo he vs'd himfelie well, miltris.
Dahe. True fir, but you know, what growes, by luch
hants, often-times.
Cleh. I fee, ranke fruits of a iealous braine, miftris ■>
KiTELY : but, did you find your hufband there, in that
cafe, as you fuXpected ?
Kite. I found her there, fir.
Clem. Did you fo ? that alters the cafe. Who gaue
you knowledge, of your wiues being there ? !•>
Kite. Marie, that did my brother Wel-bred.
Cleh. How ? Wel-bred firft tell her ? then tell you,
after ? where is Wel-bred ?
Kite. Gone with my fiTter, fir, I know not whither.
Cleh. Why, this is a meere trick, a deuice ; you, are a
guU'd in this moft grofly, all t alas, poore wench, wert
thou beaten for this ?
Tib. Yes, moft pittifully, and 't pleafe you.
Cob. And worthily, I hope : if it fhall prove fo.
Clem. I, that's like," and a piece of a fentence. How <•
now, fir ? what's the matter ?
Ses. Sir, there's a gentleman, i' the court without,
defires to fpeake with your worfhip.
Clem. A gentleman ? what's he ? [66]
Seb. a fouldier, fir, he faies. »
Clem. A fouldier ? take downe my armor, my fword,
//e Of™* quickly : a fouldier fpeake with me ! why, when knaues ?
im/i/t. (^jjjg ^jjj^ come on, hold my cap there, fo ; giue me my
gorget, my fword : ftand by, I will end your matters,
anon — Let the fouldier enter, now, fir, wt^t ha' you to »■•
fay to me ?
40 lenience. lEnltr a Servant. G 48 on, hold] on; [Armi
AtiM(«I/.] tiold G JO enter, [Bxil Servant, Enttr BobodiU lol-
lowtd by Mathew. G
n,g,i,7cd by Google
228 Euery man in his Humor (ACT v, SC i
Enter Bobadillo and Matheo.
Bob. By your worflups fauour.
Clem. Nay keepe out (ir, I know not your pretence,
you tend me word fir you are a (ouldier, why fir you
'^ [hall bee anfwered here, here be them haue beene amcmgft
louMiers. Sir your plealure.
Bob. Fayth Xir fo it is : this gentleman and my felfe
haue beene moft violently wronged by one fignior Gi-
ulUano : a gallant of the dtie here and for my owne part
'3i I proteft, beeing a man in no forte giuen to this filthy
humor of quarreling, he hath afaulted me in the way of
my peace : difpoyld me of mine honor, difarmd me of
my weapons, and beaten me in the open ftreetes : when
I not fo much as once offered to refift him.
=4" Clem. Oh Gods precious is this the fouldier ? here
take my annour quickly, twill make him Iwoone I feare ;
he is not fit to looke on't, that will put vp a blow.
Enter Seruant.
Mat. Andt pleaie your worfhip he was bound to
the peace.
'45 Clem. Why, and he were fir, his hands were not
bound, were they ?
[79] Ser. There is one of the varlets of the citie, has
brought two gentlemen here vpon areft Xir.
Clem. Bidhimcomein,fetbythepicture: £«/«■ MuX.
'>'■ now Xir, what ? fignior GiuUiano ? iXt you with Giu. et
that are areXted atXignior freXhwaters Xuit here. Stephano.
n,g,i,7cd by Google
ACTV, sell] Euery Man in bis Humour 229
ACT V. SCENE II.
BoBADiLL, Matthew.
TDy your worfhips fauour
Clem. Nay, keepe out, fir, I know not your pre-
tence, you lend me word, fir, you are a. louldier : why,
fir, you fhall bee anfwer'd, here, here be them haue
beene amongft fouldiers. Sir, your pleafure. s
Bob. Faith, fir, fo it is, this gentleman, and my felfe,
haue beene moft vnciuilly wrong'd, and beaten, by one
DowNE-RiGHT, a courle fellow, about the towne, here,
and for mine owne part, I proteft, being a man, in no
fort, giuen to this filthie hmnour of quarrelling, he hath "
affaulted mee in the way of my peace; difpoil'd mee
of mine honor ; dif-arm'd mee of my weapons ; and rudely,
laid me along, in the open ftreets : when, I not fo much
as once offer'd to refift him.
Clem. O, gods precious ! is this the fouldier ? here, 's
take my armour of quickly, 'twill make him fwoune,
I feare ; hee is not fit to looke on 't, that will put vp
a blow.
Matt, An't pleafe yoiu- worfhip, he was bound to
the peace. «
Clem. Why, and he were, fir, his hands were not
bound, were they ?
Seb. There's one of the varlets of the citie, fir, ha*s
brought two gentlemen, here, one, vpon your worfhips
warrant. , ':
Clem. My warrant ?
Seb. Yes, fir. The officer fay's, procur'd by thefe two.
Clem. Bid him, come in. Set by this picture. What,
M'. DowNE-RiGHTl are you brought at M'. Fresh-
WATEBS fuite, here I j'
Scene II [To them (in margin) 1640 23 [Re-enltr Servant. G
aS in. [Exit Servant] G 26 picture. [Enler Downright, Stephen,
and Brainworm disguised as before. G
n,g,i,7cd by Google
230 Euery man in his Humor [ACT V, SC I
Giu. I iayth maifter Doctor, and beres another brought
at my fuite.
Clem. What are yo fir.
•ss Step. A gentleman Jjt ? oh vncle ?
Clem. Vncle ? who, Lorenzo ?
Lo. fe. I Sir.
Step. Gods my witneHe my vncle, I am wroogd here
monltroully, he chargeth me with Itealing of his cloake,
•^ & would I might neuer ftir, if I did not finde it in the
ftreet by chance.
Giu. Oh did you finde it now ? you faide you bought
it ere while ?
Step. And you layd I Itole it, nay now my vncle is
»«s here I care not.
Clem. Well let this breath a while ; you that haue
caule to complaine there, ftand foorth ; had you a war-
rant for this arreft.
Bob. I andt pleaie your worlhip.
>j» Clem. Nay do not Ipeake in paHion fo, where had
you it ?
Bobj Of your clarke fir.
Clem. Thats well and my clarke can make warrants,
and my hand not at them ; where is the warrant ?
'7s varlet haue you it ?
Muf, No fir your worfhippes man bid me doe it ; for
thefe gentlemen and he would be my difcharge.
Clem. Why fignior GiuUiano, are you fuch a nouice
to be arrefted and neuer fee the warrant ?
"^ Gilt. Why fir. he did not arreft me.
Clem. No ? bow then ?
Giu. Marry fir he came to me and fayd he muft arreft
me, and he would vfe me kindely, eind so foorth.
n,g,i,7cd by Google
I
ACTV.SCIII] Euery Man in his Humour 231
ACT V. SCENE III.
DOWNE-BIGHT, STEPHEN, BRAYNE-
WORUE.
Faith, tiT. And here's another brought at my fuite.
Clem. What are you, fir ?
Step. A gentleman, fir ? 6, vncle I
Clem. Vncle ? who ? mafter Kno'well ?
Kno. I, fir ] this is a wile IdnTman of mine. >
Step. God's my witneffe, vncle, I am wrong'd here [67]
monftroufly, bee charges me with ftealing of his cloke,
and would I might neuer ftiire, if I did not find it in the
ftreet. by chance.
Dow. O, did you find it, now ? you faid, you bought "•
it, ere-while.
Step. And, you faid, I ftole it ; nay, now my vncle
is here, I'll doe well inough, with you.
Clem. Well, let this breath a while ; you, that haue
caufe to complaine, there, ftand forth: had you my '>
warrant for this gentlemans apprehenfion ?
Bob. I, an't pleafe your worfhip.
Cleu. Nay, doe not fpeake in paffion fo : where had
you it ?
Bob. Of your clarke, fir ? '•
Clem. That's well ! an' my clarke can make warrants,
and my hand not at "hem ! Where is the warrant ?
Officer, haue you it ?
Bhay. No, fir, your worfhip's man, mafter Formal,
bid mee doe it, for thefe gentlemen, and he would be -i
my difcharge.
Clem. Why, mafter Downe-right, are you fuch a
nonice, to bee feru'd, and neuer fee the warrant ?
Dow. Sir. He did not feme it on me.
Clem. No ? how then ? 3"
Dow. llary, fir, hee came to mee, and faid, bee
mnft feme it, and hee would vfe me kindly, and fo
Scene III. [To Hum (in mugiii) 1640
n,g,i,7cd by Google
232 Euery man in his Humor [act v, SC I
Clem. Oh Gods pittie, was it lo fir, he muXt arreft
[80} you : giue me my long iworde there : helpe me of ; to,
come on fir varlet, I muft cut of your legges Brha ; nay
ftand vp ile vie you kindly ; I muft cut of your legges
I fay.
Muf. Oh good fir I befeech you, nay good maifter
'i" doctor.
Oh good fir.
Clem. I muft do it ; there is no remedie ;
I muft cut of your legges firha.
I muft cut of your eares, you rafcall I muft do it ;
■95 I muft cut of jfour note, I muft cut of your head.
Muf. Oh for God fake good Maifter Doctor.
Clem. Well rife how doeft thou now ? doeft thou feele
thy felfe well ? baft thou no harme ?
Muf. No I thanke God fir and your good worfhippe.
3«j Clem. Why fo I fayd I muft cut of thy legges, and
I muft cut of thy armes, and I muft cut of thy head : but
I did not do it : to you fayd you muft arreft this gentle-
man, but you did not arreft him you knaue, you flaue,
you rogue, do you fay you muft arreft lirha : away with
30S him to the iayle, ile teach you a tricke for your muft.
Muf. Good M. Doctor I befeech you be good to me.
Clem. Marry a God : away with him f fay.
Muf. Nay fblood before I goe to prifon, ile put on
my olde brafen face, and difclaime in my vocation : fie
3IO difcouer thats flat, and I be committed, it fhall be for
the committing of more villainies then this, hang me,
and I loofe the leaft graine of my fame.
Clem. Why ? when knaue ? by Gods marry, ile
clappe thee by the heeles to.
3.S Muf. Hold, hold, I pray you.
Clem. Wbats the matter ? ftay there.
n,g,i,7cdbyGoogle
ACTV, SCIII] Euery Man in his Humour 233
Cleu. O, gods pittie, was it fo, fir ? 'he mult feme it ?
giue me my long-Iword there, and helpe me of ; fo. Come
on, fir varlet, I muft cut off your legs, firrha ; nay, «
ftand vp, lie vfe you kindly; I muft cut off your legs,,/,^j Jl^
I fay. *"» »«"
Bray. O, good fir, I hefeech you ; nay, good mafter /aord.
luftice.
Clem. I muft doe it ; there is no remedie. I muft *<•
cut off your legs, firrha, I muft cut oft your eares, you
rafcall, I muft doe it ; I muft cut off your nofe, I muft
cut off your head.
Bray, O, good your worfhip,
Clem. Well, rife, how doeft thou doe, now ? doeft -*
thou feele thy felfe well ? haft thou no harme ?
Bray. No, I thanke your good worfhip, fir.
ClEM. Why, fol I faid, I muft cut off thy legs,
and I muft cut off thy armes, and I muft cut off thy
head; but, I did not doe it: fo, you faid, you muft s-
feme this gentleman, with my warrant, but, you did
not feme him. You knaue, you flaue, you rogue, doe
you (ay you muft ? firrha, away with him, to the iayle,
He teach you a trick, for yom- muft. fir.
Bray. Good, fir, I befeech you, be good to me. si
Cleu. Tell him he fhall to the iayle, away with him,
I fay.
Bray. Nay, fir, if you will commit mee, it fhall bee
icff committing more tiien this : I will not loofe, by my
trauaile, any graine of my fame certaine. «■"
Cleh. How is this I
3) firrha.: [Braiitworm kntels.} G 38 heleecb [befeech 1640-1-
60 [Throws off his serjaanl's gown.] G
n,g,i,7cd by Google
234 Eueiy man in bis Homor [actv, sc I
Mul- Fayth lir afore I ^oe to this houle of bondage,
I haue a cafe to vnfolde to your worfhippe : which (that
it may appeare more playne vnto your worfhippes view)
^-° I do thus firit of all vncafe, & appeare in mine owne
proper nature, feruant to this gentleman : and knowne
by the name of Mu/co.
Lo.je. Ha? Mufco.
Sup. Ob vncle, Mufco has beene with my cofen and
[81] I all this day.
Clem. Did not I tell you there was feme deuife.
Muf. Nay good M. Doctor fince I bane layd my felfe
thus open to your worfhip : now ftand ftrcmg for me, till
the progreffe of my tale be ended, and then if my wit do
"■> not defenie your countenance ; Slight throw it on a dogge,
and let me goe hang my felfe.
Cle. Body of me a merry kuaue, giue me a boule of
Sack, fignior Lorenzo, I befpeak yonr patience in perti-
culer, marry your eares ingenerall, here knaue. Doctor
)3J Clement drinkes to thee,
Muj. I pledge M. Doctor and't were a fea to the
bottome.
Cle. Fill his boule for that, fil his boule : fo, now fpeak
freely.
3*» Mul. Indeede this is it will make a man fpeake fireely.
But to the poynt, know then that I Mufco (beeing fome-
what more trufted of my maifter then reafon required,
and knowing his intent to Florence) did affume the habit
of a poore fouldier in wants, and minding by fome meanes
341 to intercept his iomey in the mid way, twixt the grandg
and the city, I encotmtred him, where begging of him in
the moft accompUIhUand true garbe (as they tearme it)
contraife to al expectation, he reclaimd me from that bad
courfe of hfe ; entertayned me into his feruice, imployed
MO me in his bufines, poffeft me with his fecrets, which I
no fooner had receiued, but (feeking my young maifter,
and finding him at this gentlemans houle) I reuealed all
moft amply : this done, by the deuife of fignior Profpero,
n,g,i,7cd by Google
ACTV, SCIII] Euery Man in his Humour 235
Kno. My man, Braywe-worme I [68]
Step. O yes, vnck. . Brayne-worue ha's beene
with my coiren Edward, and I, all this day.
Cl-EM. I told you all, there was fome deuicel '^
Bray. Nay, excellent lultice, lince I haue laid my
felfe thus open to you ; now, ftand ftrong for mee : both
with your Iword, and your ballance.
Clem. Bodie o'' me, a meiry knaue ! Giue me a
bowle of fack : If hee belong to you, mafter Kno'well, r°
I befpeake yo\a patience.
Bray. Tliat is it, I haue moft need of. Sir, if you'll
pardon me, only ; I'll glorie in all the reft, of my exploits.
Kno. Sir, you know, I loue not to haue my fouours
crane hard, from me. You haue your pardon : though "
1 fufpect you ihrewdly for being of counfell with my
foone, againft me.
Brav. Yes, faith, I haue, fir ; though you retsiin'd
me doubly this morning, for your felfe : firXt, as Bravne-
worme; after, as Fitz-sword. I was your reforra'd*"
fouldier, fir. Twas I fent you to CoBS, vpon the errand,
without end.
Kno. Is it poffiblel or that thou fbould'ft di^uife
thy language fo, as I fhould not know thee ?
n,g,i,7cd by Google
236 Eaeiy man in his Humor [ACT V, sc I
and him together, I retumd (as the Rauen did to the
w Arke) to mine olde maifter againe, told him he Ifaonld
finde his frame in what maner he knows, at one Cobs
houfe, where indeede he neuer ment to come, now my
maifter he to maintayne the ieft, went thether, and ieft
me with your worlhips clarke : who being of a molt
**• fine Xupple dilpofition (as molt of your clarkes are) prof-
fers me the wine, which I had the grace to accept very
eafily, and to the taueme we went : there after much
ceremonie, I made him druoke in ktndeneffe, ftript him
to his fhmt, and leaning him in that coole vayne, departed,
3^i frolicke, courtier like, hauing obtayned a fuit : which fuit
[82] fitting me exceedingly well, I put on, and vfurping your
mans phrafe & action, caried a melfage to Signior Thordio
in your name : which meffage was meerely deuised but
to [H'ocure his abfence, while fignior Proffero might
i'" make a amueiance of Hefperida to my maifter.
Clem. Stay, fill me the boule agayne, here ; twere
pittie of his life would not cherifh Inch a fpirite : I drinke
to thee, fill him wine, why now do you perceiue the tricke
of it.
375 Tho. I, I, perceiue well we were all abufd-
Lo. fe. Well what remedie ?
CUm. Where is Lorenzo, and Profpero canft thou tell ?
Muf. I fir, they are at lupper at the Meeremaid,
where^I left your man.
!<• Clem. Sirha goe wame them hether prefently before
me : and if the hower of your fellowes refurrection be-
come bring him to. But forwarde, forwarde, when thou
hadft beene at ThorreUos. Exit feruant.
Muf. Marry fir (comming along the ftreete) thele two
3B1 gentlemen meet me, and very ftrongly fuppofing me to
be your worfhips fcribe, entreated me to procure them
a waiiant, for the arreft of fignior GiuUiano, I promift
them vpon fome paire of filke ftockins or a iewell, or fo,
to do it, and to get a varlet of the citie to feme it, wich
n,g,i,7cd by Google
ACTV. sc. Ill] Euery Man in his Humow 237
Bray. O, fir, this ha's beene the day of ray meta- ^s
morpholis ! It is not that fliape alone, that I haue
runne through, to day. I brought this gentleman,
mafter Kitely, a meHage too, in the forme of mafter
lultices man, here, to draw him out o' the way, as well
as your worfhip : while mafter Well-Bred might make »"
a conueiance of miftris Bridget, to my yong mafter.
Kite. How \ my fifter ftolne away ?
Kko. My fonne is not marxied, I hope !
Bray. Faith, fir, they are both as fure as loue, a
prieft, and three thoufand pound (which is her portion) »>
can make 'hem : and by this time are readie to befpeake
their wedding fupper at the wind-mill, except fome friend,
here, preuent 'hem, and inuite 'hem home.
by Google
238 Eiiery man in his Humor [ACTV, sc. I
3v vatlet I appoynted ihould meete them vpon the Realto
at fuch an houre, they no fooner gone, but I in a meere
hope of more gaine by fignior GiuUiano, went to CMie of
Saians old Ingles a broker, & there paund your mans
Uoerie for a varlets fuite, which here with my feUe, I
395 offer vnto your worlhips confideration.
Clem. Well giue me thy hand : Proh. fuperi ingenivm
magnum quis nofctt Homerum. lUias aternum ft latuillet
opus ? I admire thee I honor thee, and if thy maifter, or
any man here be angry with thee, I fhall fuXpect his wit
'" while I know him for it, doe you heare Signior TkoreUo,
Signior Lorenzo, and the reft of my good friendes, I pray
you let me haue peace when they come, I haue fent for
the two gallants and Hesferida, Gods marry I mufi haue
you friendes, how now ? what noyfe is there ?
Enter feruant, then Peto.
■•■s Ser. Sir it is Peto is come home.
[83] Cle. Peto bring him hether, bring him hether, what
how now fignior drunckard, in armes againft me, ha ?
your reafon your reafon for this.
Pe. I befeech your worfhip to pardon me.
"° Clem. Well, firha tell him I do pardon him.
Pe. Truly fir I did happen into bad companie by
chance and they caft me in a fleepe and ftdpt me of all
my cloathes.
Clem. Tut this is not to the purpofe touching your
4*1 armour, what might your armour fignifie.
Pe. Marry fir it hung in the roome where they ftript
me, and I borrowed it of on of the drawers, now in the
n,g,i,7cd by Google
ACTV. SC. IV] Euery Man in his Humour 239
Clem. Marie, that will I (I thanke thee, for putting
me in mind on't.) Sirrah, goe you, and fetch 'hem '<»
hither, vpon my warrant. Neithers friends haue caule
to be fonie, if I know the yong couple, aright. Here,
I drinke to thee, for thy good newes. But, I pray thee,
what haft thou done with my man Formall.
Bkay. Faith, fir, after fome ceremonie palt, as making "»
him drunke, firft with (torie, and then with wine (but
all in kindneffe) and ftripping him to his fhirt : I left
him in that coole vaine, departed, fold your worfhips
warrant to thefe two, pawn'd his liuerie for that varlets
gowne, to feme it in ; and thus haue brought my felfe, *"■
by my actiuitie, to your worfhips confideration.
Cleh. And I will confider thee, in another cup of
fack. Here's to thee, which hauing drunke of, this is
my fentence. Pledge me. TTiou haft done, or affifted [69]
to nothing, in my iudgement, but deferues to bee par- us
don'd for the wit o' the offence. If thy mafter, or anie
man, here, be angrie with thee, I fhall fulpect his mgine,
while I know him for't. How now ? what noife is that !
Ser. Sir, it is Roger is come home.
Clem. Bring him in, bring him in. What ! drunke ■"■
in armes, againft me ? Your rea/on, your reafon for this.
ACT V. SCENE IIIL
Formall. To i/ut.
Befeech your worfhip to pardon me ; I happen'd into
iU companie by chance, that caft me mto a Oeepe, and
ftript me of all my clothes
Clem. Well, tell him, I ani luftice Clement, and
doe pardon him : but, what is this to your armour ! s
what may that fignifie ?
Form. And't pleafe you, fir, it hung vp 'i the roome,
where I was ftript; and I bonow'd it of one o' the
18 [EnltT Servant. G
I
n,g,i,7cd by Google
240 Enery man in his Homor [ACT v, sc. 1
etming to come home in, becaofe I was loth to come
throogb the Itreet in my Ihurt.
Enter Lorenzo tunior, Profpero, HefpoicU.
^^ Clem. Well dilarme him, hot its no matter let him
ftand by, v4io be thele ? oh jromig gallants ; welcrane,
welcome, and you Lady, nay neuer fcatter fuch amazed
loolces amongft vs. Qui nil poteft fperare defperet nikU.
Prof. Faith M. Doctor thatseuen I, my hopes are imaH,
4*9 and my difpaire Ihal be as little. Brother, filter, brother
what cloudy, cloudy ? and will noe funfhine on thele
lookes appeare, well lince there is fuch a tempeft towarde,
ile be the porpuis, ile daunce : wench be of good cheare.
thou haft a doake for the rayne yet, vliere is he ? Sliart
430 how now, the picture of the prodigal, go to ile haue the
calie dreft for you at my chaiges.
Lo.je. WellfomieZ.orefMo.thisdayeswcH'keofyourshath
much deceiued my hopes, troubled my peace, and f tretcht
my patience further then became the fpirite of dutie.
4» Cle, Nay Gods pitie fignior Lorenzo you fhal vige it no
mOTe come fince you are here, ile haue the difpofing of all, but
firf t ivgtaoTGitilUano at my requef t take your cloake agayne.
Gin. Well fir I am content.
Cle. Stay now let me fee, oh fignior Snow-huer I had
**• almoft foi^otten him, and your Genius there, what doth
he fuffer for a good confcience to ? doth he beare his
croffe with patience.
Mm. Nay they haue fcarfe (me cros between the both
to beare.
441 Clem. Whydoeft thou know him, what i$he?whatishe?
Muf. Marry fearch his pocket fir, and thele fhew you
he is an Author Sir.
[64] Cle. Die mihi mufa virum: are you an Author fir, giue
me leaue a little, come on fir, ile make verfes with you
49° now in honor of the Gods, and the Goddeffes for what
you dare extempore; and now I b^inne.
443 they] thy B
n,g,i,7cd by Google
ACTV, sc.v] Euery Man in his Humour . 241
drawers, to come home in, becaale I was loth, to doe
penance through the ftreet, i' my fliirt. "
Clem. Well, Itand by a while. Who be thefe ? O
the yong companie, welcome, welcome. Gi' you-ioy.
Nay, miftris Bridget, bluih not ; you are not fo frelh
a bride, but the newes of it is come hither afore you.
Mafter Bridegroome, I ha' made your peace, giue mee -i
your hand : fo will I for all the reft, ere you forfake
my roofe.
ACT V. SCENE V.
Ed. Kno'wel, Wel^bred, n
Bridget.
'\X7E are the more bound to yoiu- humanitie, fir.
Cleh. Only thefe two, haue fo httle of man in
'hem, they are no part of my care.
Well. Yes, fir, let mee pray you for this gentleman,
hee belongs, to my lifter, the bride. - s
Cleh. In what place, fir ?
Weil. Of her delight, fu-, below the ftaires, and in
publike : her poet, fir.
Clem. A poet ? I will challenge him my felfe, pref-
ently, at exltmpore. v
II while.] EnUr E. Knowell, W«Ilbred, and Bridget. G
n,g,i,7cd by Google
242 Euery man in his Humor [ACTV, SCI
Mount the my Pblegonmv/e, and teftifie.
How Satume fitting in an Ebon cloud,
Di/robd his podex, white as iuorie,
■ts5 And through the welkin thundred all aloud, theres for
you lir.
Pro/. Oh he writes- not in that height of (tile.
Clem. No : weele come a Xteppw or two lower then.
From Catadupa and the bankes of Nile,
<«<• Where onely breedes your mon/trous Crocodile:
Now are we purpofd for to fetch our ftile.
Prof. Oh too farre fetcht for him ftiU maifter Doctor :
Clem. I, fay you (o, lets intreat a fight of his vaine
then?
465 Prof. Signior, maifter Doctor defires to fee a fight of
your vaine, nay you muft not denie him.
Cle. What ; al this verfe, body of me he carries a
whole realme; a common wealth of paper in his hofe,
lets fee fome of his fubiects.
4J0 Vnto the boundlefle ocean of thy bewtie,
Runnes this poor riuer, chargd with ftreames of zeale,
Returning thee the tribute of my dutie:
Which here my youth, my plaints, my loue reueale.
Good ? is this yom^ owne inuention ?
47J Mat. No fir, I tranflated that out of a booke, called
Delia.
C. Oh but I wold fee fome of your owne, fome of your
owne.
Mat. Sir ; heres the beginning of a fonnet I made to
4»o my miftreffe.
Clem. That that : who ? to Maddona Hefperida is
fhe your miftreffe.
Prof. It pleafeth him to call her fo, fir.
Clem. In Sommer Hme when Fhaebus golden rayes.
481 You tranflated this too ? did you not ?
Prof. No this is inuention ; he found it in a ballad.
n,g,i,7cd by Google
ACT V, SC V] Euery Man in his Humour 243
Mount vp thy Phlegon mufe, and te/tifie,
How S A T V R N E, jitling in an ebon cloud,
Dijrob'd his podex white as iitorie.
And, through the welkin, (hundred tdl aloud.
Well. ' Hee is not for extempore, Cr. Hee is all for >s
the pocket-mu/e, pleafe you command a fight of it.
Clem. Yes, yes, learch him for a talt of his veine. [70]
Well. You muft not denie the Queenes luftice. Sir,
vnder a writ o' rebellion.
Clem. What ! all this verle ? Bodie o' me, he carries >•>
a whole realme, a common-wealth of paper, in's hofe !
let's fee fome of his fubiects I
Vnto the boundlejje Ocean of thy face,
Runnes this poore riuer charg'd with jtreames of eyes.
How ? this is ftolne ! "s
1 [Tkty search Mathem's pocktts. G
i [Reads. G
n,g,i,7cd by Google
244 Eneiy man in his Humor [ACT V, SCI
Mat. Fayth fir, I had moft of the CMiceite of it out
of a ballad indeede.
[85] Clem. Conceite, fetch me a couple of torches, fiiiia,
«• I may lee the conceite : quickly ? its very darke ?
Giu. Call you this poetry ?
Lo. iu. Poetry ? nay then call blafphemie, religioii ;
Call Diuels, Angels ; and Sinne, pietie :
Let all things be prepofterouHy tranfchangd.
>9i Lo. le. Wiy how now fonne ? what ? are you ftartled
now ?
Hath the brize phckt you ? ha ? go to : you fee.
How abiectly your Poetry is ranckt. in general! oiHuion.
Lo. iu. Opinion, O God let grofle opinio finck & be
i"o danmd
As deepe as Barathrum,
If it may ftand with your moft wifht content,
I can refell opinion and approue.
The ftate of poefie, fuch as it is,
i-s Blelfed, atcmall, and molt true deuine ;
Indeed if you will looke on Poefie,
As Ihe appeares in many, poore and lame,
Patcht vp in remnants and olde wome ragges,
Halfe Itaxud for want of her peculiar foode :
SIS Sacred inuention, then I mult confeime.
Both yoxa conceite and cenfure of her merrite.
But view her in her glorious ornaments.
Attired in the maieftie of arte.
Set high in fpirite with the precious tafte,
jij Of fweete philofophie, and which is molt,
Crownd with the rich traditions of a foule.
That hates to haue her dignitie prophand.
With any relifh of an earthly thought :
Oh then how proud a prefence doth fhe beare.
)«Then is Ihe like her felfe fit to be feene.
n,g,i,7cd by Google
ACTV, sc. V] Eutry Man in kis Humour 245
n,g,i,7cd by Google
246 Euery man io his Humor [ACT V, SC I
Of none but graue and confecrated eyes :
Not is it any blemilh to her fame.
That fuch leane, ignorant, and blafted wits.
Such brainleffe guls, Ihould vtter their Itohie wares
i'i With fuch aplaufes in our vulgar eares :
Or that their flubberd lines haue currant palfe.
From the fat iudgements of the multitude,
■6] But that this barren and infected age.
Should fet no difference twixt thefe empty fpirits,
no And a true Poet : then which reuerend name.
Nothing can more adome humanitie. Enter with torches.
Clem. I Lorenzo, but election is now gouemd alto-
gether by the influence of humor, which infteed of thofe
holy flames that fhould direct and Ught the foule to
sjs etemitie, buries foorth nothing but faiooke and congefted
vapours, that ftifle her vp, & bereaue her of al Oght &
motion. But fhe muft haue ftore of EUebore, giuen her
to purge thefe groHe obltructions : oh thats well iayd,
giue me thy torch, come lay this Ituffe together. So,
540 giue fire ? there, fee, lee, how our Poets glory fhines
- brighter, and brighter, ItiU, ItiU it increafeth, oh now
its at the higheXt, and now it declines as fait : you may fee
gaUants, Sic tranjit gloria mundi. Well now my two Sig-
nior out fides, ftand foorth, and lend me your large eares,
S4S to a fentence, to a fentence : fir£t you fignior fhall this
night to the cage, and (o fhall you fir, from thence to
morrow morning, you flgnior fhall be carried to the
market croffe, and be there bound : and fo fhall you fir.
in a large motlie coate, with a rodde at your girdle ; and
ii" you in an olde fuite of fackcloth, and the alhes of your
papers (faue the afhes firha) fhall moume all day, and at
night both tc^ether fing fome ballad of repentance very
pitteoufly, wl^ch you fhall make to the time of Who lift
to leade and a jotUdiers life. Sirha bil man, imbrace you
us this torch, and hght the gentlemen to their lodgings, and
n,g,i,7cd by Google
ACTV, SCV] Euery Man in his Humour 247
E. Kn. a Parodie I a parodie \ with a kind of mira-
culous gift, to make it abfurder then it was.
Clem. Is all the reft, of this batch ? Bring me a
torch ; lay it together, and giue fire. Clenfe the aire.
Here was enough to haue infected, the whole citie, if it J"
had not beene taken in time ! See, lee, how our Poets
glorie fhines ! brighter, and brighter I ItiU it increafes !
6, now, it's at the higheft : and, now, it declines as fait.
You may fee. Sic tranfit gloria mundi.
Kko. There's an emUetne for you, fonne, and your "
ftudies !
Clem. Nay, no fpeech, or act of mine be drawne
againft fuch, as profeUe it worthily. They are not borne
euerie yeere, as an Alderman. There goes more to tlie
making of a good Poet, then a Sheriffe, M'. Kitely. *=
You looke vpon me I though, I liue i' the citie here,
amongft you, I will doe more reuerence, to him, when
I meet him, then I will to the Major, out of his yeere.
But, thefe paper-pedlers I thefe inke-dablers I They
cannot expect repreheofion, or reproch. They haue it *•-
with the fact.
£. Km. Sir, you haue fau'd me the labour of a def-
ence.
Clem. It fhall be difcourle for fupper ; betweene your
father and me, if he dare vnder-take me. But, to
difpatch away thefe, you figne o' the Souldier, and s'
picture o' the Poet (but, both fo falfe, I will not ha'
you hang'd out at my dore till midnight) while w? are
at fupper, you two fhal penitently faft it out in my
court, without ; and, if you will, you may pray there,
that we may be fo merrie within, as to forgiue, or forget ; :
you, when we come out. Here's a third, becaufe, we
tender your (afetie, Ihall watch you, he is prouided for
the prupife. Looke to your charge, fir.
ag aire [Sets the papers on fire.] G
n,g,i,7cd by Google
24^ Eaery man in his Hnmor [ACTV. sc.
becauTe we tender their Saietie, yon Oiall watch them
to night, you are promded fen- the purpofe, away and looke
to your charge with an open eye firha.
Bob. Well I am aimd in loule agaynft the worft of
>*• fortune.
Mai. Faytb (o (hould I be, and I had flept on it.
Pe. I am aimd too, but I am not hke to fleeps on it.
Muf. Oh how this plealeth me. Exeunt.
Clem. Now Signior ThoreUo, GiuUiano, . Profpero,
>*» Biancha.
Sup. And not me £ir,
Clem. Yes and you fir : I had loft a Iheepe and he
bad not bleated, I mult haue you all friends : but firft
[87] a worde with you young gallant, and you Lady.
"" Giu. Wei brother Pro/pero by this good light that
fhines here I am loth to kindle frelh coles, but and you
had come in my walke within thefe two houres t had
giuen you that you fhould not haue clawne of agajme in
haft, by lefus I had done it, I am the airenXt rogue that
»" euer breathd elfe, but now befhrew my hart if I beare
you any malice in the earth.
Pro/. Fayth I did it but to hould vp a ieft : and helpe
my filter to a hufband. but brother ThoreUo, and filter,
you haue a fpice of the yealous j'et both of you, (in your
>•• hofe I meane,) come do not dwell vpon your anger fo
much, lets all be fmotb fore headed once agayne.
Tho. He playes vpon my fore head, brother GiuUiano,
I pray you tell me one thing I Ihall afke you : is my fore-
heade any thing rougher then it was wont to be.
'*> Giu, Rougher ? your forehead is fmoth enough man.
Tho. Why fhould he then fay ? be fmoth fordieadBd,
Vnleffe he iefted at the toothneffe of it ?
And that may be ; for home is very fmoth ;
So are my browes ? by lefu, linoth as home ?
^** Bia. Brother had he no haunt tliether in good fayth ?
565 Bignehm] Bwneba B.
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ACTV, SCV] Euery Man in his Humour 249
Step. And what Ihall I doe ?
Clem. O ! I had lolt a Iheepe, an he had not bleated ! *>
Why, fir, you Diall giue M"". Downe-right his cloke :
and I will intreat him to take it. A trencher, and a
napkin, you fliall haue, i' the buttrie, and keepe Cob,
and his wife companie, here; whom, I will intreat firft
to bee reconcil'd : and you to endeuour with your wit, 's
to keepe 'hem fo.
Step. He doe my beft.
Cob. Why, now I fee thou art honelt, Tib, I receiue
thee as my deare, and mortall wife, againe.
Tib. And, I you, as my louing, and obedient hufband. ■">
n,g,i,7cd by Google
250 Euery man in his Humor [ACTV, sc. i
Prof. No vpon my Joule.
Bia. Nay then Xweet hart : nay I pray the be not
angry, good faith Jle neuer /ufpect thee any more, nay
Idffe me Iweet muffe.
!«' Tho. Tell me Biancha, do not you play the woman
with me.
Bia. Whats that Iweete hart.
Tho. DiXIemble?
Bia. DiTIemble ?
*" Tho. Nay doe not tume away : but lay I fayth was
it not a match appwynted twixt this old gentleman and you ?
Bia. A match.
Tho. Nay if it were not, I do not care : do not weepe
I pray thee fweete Biancha, nay fo now ? by lefus I am
*"s not iealous, but relolued I haue the faythfulf t wife in Italie.
For this I finde where iealoufie is fed,
Homes in the minde, are worfe then on the head.
[88] See what a droue of homes ftie in the ayre,
Wingd with my clean/ed, and my credulous breath:
*'* Waich them fufpicious eyes, watch where they fall.
See fee, on heades that thinke they haue none at all.
Oh what a plentuous world of this will come.
When ayre raynes homes, all men befure of fome.
Clem. Why thats well, come then ; what fay you are
in all agreed ? doth none ftand out.
Prof. None but this gentleman : to whom in my owne
perfon I owe all dutie and affection : but moft ferioufly
intreate pardon, for whatfoeuer hath paft in thefe oc-
curants, that might be contrarie to his moft defired
*'" content.
Lo. Fayth fir it is a vertue that perfues,
Any fane rude and vncompofed fpirites,
To make a fayre conftruction and indeede
Not to ftand of, when fuch refpectiue meanes,
«'s Inuite a general! content in all.
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ACTV, SCV] Euery Man in his Humour 251
Cleh. Good complement t It will bee their bridale
night too. They are mairied anew. Come, I coniure [71]
the reft, to put of all difcontent. You, M'. Downe-
RiGHT, your anger ; you, mafter Kno'well, your cares ;
mafter Kitely, and his wife, their iealoufie. rs
For, I muft tell you both, while that is fed,
Homes i' the mind are worfe then o' the head.
Kite. Sir, thus they goe from me, kilfeme, fweetheart.
See, what a droue of homes fiye, in the ayre,
Wing'd with my clenfed, and my credulous breath I »°
Watch 'hem, fu/picious eyes, watch, where they fall.
See, fee I on heads, that thinks th" haue none at all !
O, what a plenteous world of this, will come 1
When ayre raynes homes, all may be lure of fame.
I ha' leamd fo much verfe out of a iealous mans part, b;
in a play.
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252 Euery man in his Humor [act v, sc I
Clem. Well then I coniure you all here to put of all
diXcontentmait, firlt you Signior Lorenzo your cares ; you,
and you, your iealolie : you your anger, and you your
wit £ir : 2ind for a peace offering, heres one willing to be
*3= facriiifed vppon this aulter : fay do you approue my
motion ?
Prof. We doe ile be mouth for all.
Clem. Why then I wilh them all ioy, and now to
make our euening happineffe more full : this night you
•39 fhall be all my gueftes : where weele inioy the very fjHrite
of mirth, and caroufe to the health of this Heroick ffHrite,
whom to honor the more I do inuelt in my owne robes,
defiring you two GiuUiano, and Pro/pero, to be his fup-
porters, the trayne to follow, my lelfe will leade, vflierd
««• by my page here with this honorable verfe. Claudite
iam rious ptteri jot prata biberunt.
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ACTV, SCV] Euery Man in his Humour 253
Clem. 'Tis well, 'tis well ! This night wee'll dedi-
cate to friendlhip, loue, and laughter. Halter bride-
groome, take your bride, and leade : e«ery one, a fellow.
Here is my miftris. Brayne-WORMe ! to whom all my »■
addrelfes of com'tlhip Ihall haue their reference. Whole
aduentures, this day, when om- grand-children Ihall heare
to be made a iable. I doubt not, but it fhall find both
fpectators, and applaufe.
THE END.
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. n,g,i,7cdbyGoogle
[72]
This Comoedie was first
Acted, in the yeere
1598.
fip the then L. Chamberuiyne
Ms Seruants.
The principall Comcedians were,
Will. Shakespeare.
AvG. Philips,
Hen. Condel.
Will. Slye.
Will. Kempe.
RiC. BVRBADGE.
lOH. HeHHINGS.
Tho. Pope.
Chr. Beeston.-
lOH. DVKE.
Wi& the allowance of the Master of Revells.
n,g,i,7cd by Google
by Google
EXPLANATORY NOTES
It has been the aim of this edition to include all valuable
material in previous editions ; where the earher notes have
proved inaccurate or inadequate, they have been corrected
or expanded. Notes signed W are from Whalley, G from
Gifiord, and Wh frx)m Wheatley. References to the plays
of Jonson and Shakespeare do not give the name of the
author, and employ familiar abbreviations. References to
the text of Every Man In are to act, scene, and line of this
edition ; other citations to Jonson are to the Cunningham-
Gifiord edition of 1875, act, scene, and page. Abbreviated
references and the editions of works to which allusions are
made may be found in the Bibliography. Q and F always
designate the quarto of 1601 and the foUo of 1616 re-
spectively,
QUARTO TITLE-PAGE
sotod by the rit^t Honorable the JmH Ohamberlalne his
aenunts. The Lord Chambearlain's Company was the sur-
vival of that which was originally formed by Robert Dudley,
Earl of Leicester, and which, in 1574, was the first to receive
the royal license. In 1588, Leicester died, and, not long
afterwards, the leading actors of the company became mem-
bers of the company of Ferdinando Stanley, Lord Strange.
The new company effected made some kind of amalgamation
with the remains of the Admiral's men, and included the
name of Edward Alleyn himself. In 1594, Lord Strange,
who had become Earl of Derby the previous year, died, and
the company passed under the protection of Henry Carey,
Lfxd Hudson, then Lord Chamberlain, to be thencefortii
known as the Chamberlain's Servants. In the June of 1594,
they played a short time with the Admiral's men at the
playhouse at Newington Butts ; but in the same month, the
Admiral's men, with Alleyn at their head, resumed an in-
n,g,i,7cd by Google
258 Euery Man in his Humour
dependent existence. In 1595 or 1596, the company was
at the Theater. The first Lord Hunsdon died in 1596, and
the company descended to his son George Carey, second
Lord, who, in 1597 himself became Lord Chamberlain. Id
July, 1597, the Theater was shut up, and the company
possibly played at the Curtain, before moving, in 1599, into
the newly erected Globe. In May, 1603, the company receiv-
ed a patent, as the King's Men, a title which they retained
till the supjH'essioQ in 1642. Hereafter they were members
oi the royal household, with the rank of grooms of the
chambers, which the Queen's Company had held before
them. They were allowed to play at their usual house, the
Globe, and within any other city, tmiversity, town, or borough.
In 1608, they occupied the Blackfriars playhouse, and conti-
nued to use both houses till all the playhouses were closed by
the ordinance of 1642. — See Camb. Hist, of Eng. Lit.
6. 277—8. Wheatley notes that while Jonson uses the
pronoun his for the possessive case here and in other places,
as for instance in Sejanus His Fall, he calls it a 'monstrous
syntax' in his English Grammar (Wks. 9. 275)- Cf. Trench,
English Past and Present, pp. 238 ff.
fohilBon. The question of the correct spelling of Jonson 's
name has provoked ccsisid^able discussion. Gifiord [Introd.
to Every Man In, p. 2) says of the quarto version of this
play : 'There is not the least probability of its having been
given to the press by Jonson, whose name is misspelt in the
title page.' Wheatley (ed. of Every Man In, p. itS) says
'Jonson himself invariably so spelt his name (i. e. Jonson),
but others usually wrote it as Johnson.' Nicholson (Anti
quary 2. 55—57) presents evidence to prove that Jonson firsi
wrote himself Johnson, and later Jonson. He points out
that Every Man In, 1601, Cynthia's Revels, 1601, and The
Poetaster, 1602 — -all published under Jonson's supervision —
spell his name Ben Johnson. 'The first pubhcation in which
Ben spelt himself Jonson or rather Jonsonius was his "Part
of the king's , . . Entertainment through . . . London . . .
the 15th of Marche, 1603 [4]." It was pubhshed with a
Latin title-page, and therefore commenced B. Jonsonii, and
n,g,i,7cd by Google
Exptanatory Notes 259
ever thereafter he wrote himself in his publications, Jodsod.
This he may have adopted from, as above, its more literate
— t. «., Latinate — fonn, or for the sake of singularity, and to
separate himself from the common herd of Johnsons and
Johnstons, or because he had become acquainted with the
form Jansen in his compaign in the low countries.' Further
discussion of the matter may be found in N. Si Q. i. 2. 167,
238 ; 3. 8. 27. 115. 195, 403 ; 6. 10. 156 ; 7. 5. 36, 193 ; 10. 9.
329, 431 ; Johnstone, Historic^ Families of Dumfrieshire,
p. 123, n. The combined evidence of this material tends
to prove that Johnson was the traditional spelling of the
)>oet's name; that he himself so spelled tt at first, later
changing it to Jonson, and that his contemporaries, follow-
ing a familiar Elizabethan custom, spelled it both ways.
Quod non dant proceies, etc. Juvenal, Sat. 7. 90 and 93.
The same lines are found on the title-page of the quarto of
Cynthia's Revels. Judson (ed.Cyttih. Rev.) quotes the follow-
ing ; ' Gifford seems to regard the motto ... as obscure : . . .
But surely it is intelligible enough. The author has no Court
patrons, and it is to the audience of a public theatre, from
which he confessedly derives his means of support, that he
appeals.' — ^Ward, Eng. Dram. Lit. 2. 353.
Walter Botn. The two following entries (or this play are
found in the Stationers' Register : ' 4. Augusti 1600 Every man
in his humour a booke to be staied ;' '14. Augusti' [1600J.
Master Burby
Waker Burre Entred for yeir [their] copie vnder the handes
of master Pasvill [i. e. Pasfield] and ye Wardens, a booke
called Evety man in his humour. . . ,
On the 25 of June, 1596, the following entry occurs :
■ Master Waikins Waller Burre swome and admitted a freman
of this company.' Twenty-three entries of books are made
by him in the next twenty years. Judson {ed. Cynthia's
Revels, p. 161) writes : "Though Burre was still publishing in
1614, it would seem that he had sold his shop in Paul's
Churchyard by 1602, for the earliest edition of the Merry
Wives of Windsor is a quarto printed in 1602, "by T. C. for
Arthur lohnson ; and are to be sold at his shop in Powles
n,g,i,7cd by Google
26o Euery Man in his Humour
Church-yard, at the signe of the Flower de Leuse and the
Crowne.'"
Cynthia's Reoels is entved by him in 1601. Sejanus,
Volpone, and the Alchemist were all entered tinder his name
on Oct. 3, 1610.
PanlM (Suircb-jnttdB. Before th« fire which destroyed
the old Cathedral, St. Paul's churchyard — the irregalar area
lined with houses, encircling the Cathedral and burial ground
— was chiefly inhabited by stationers, whose shops weie
then, and till the year 1760, distinguished by signs. First
editions of Shakespeare's Ventts and Adonis, Rape of Lucrece,
Merry Wives of Windsor, Merchant of Venice, Richard II,
Richard III, Troitus and Cressida, Titus Andronicus, and
Lear were published by various stationers in this vicinity.— -
Wheatley and Cunningham, London Past and Present 3. 53 ff.
FOLIO TITLE-PAGE
A Conuedie. This spelling evinces Jonson's classical
feeling, and his wish to keep the English word as like the
Latin comcedia as possible.' — Wli.
The yeera 169S. For remarks on this date, see Intro-
duction, pp. Iviii ff.
WilUam Stanslor. The frequent entries of Stansby's books
in the Stationers' Register show his prominence as a printer.
His first entry was made on April 28, 1597. the second on
April I, 1611, and there were one hundiM and ninety-three
entries between the years 1611 and 1635. On January 20,
1614— 5, he entered ' Certayne Masques at the Court never yet
printed, written by Ben Johnson.' The 1620 quarto of Epi-
cctfte, the 1635 quarto of Hamlet, and the second quarto of
Love's LiAor's Lost, are other interesting works hrom his press.
DEDICATION TO CAMDEN
Wheatley, in commenting on this dedication, writes :
'Gifford printed the title " Clarencieux " after Camdoi's
name, which does not occur in the original edition.' In the
n,g,i,7cd by Google
Explanatory Notes 361
foJio which I have designated P, the word is not found. It
does occur, however, in Fdlio Y, m the Bang reprint, in the
Folios of 1640 and 1692, in the edition of 1716, and in Whalley's
edition, as well as in that of Gifford.
ClanntiSTX. 'One of the three kings of arms, and the
second highest officer of the Haalds' Collie. He has
heraldic jurisdiction over "the east, west, and south partes
of England, from the River Trent southward,'" — Nason,
Heralds and Heraldry in Jonson's Plays, p. 84.
William Camden {1551— 1623) was noted in England as an
antiquarian and historian. His two principal works are
Britannia, a survey of the British Isles written in Latin, and
a history of the reign of Elizabeth, known as Annales rerum
Anglicarum el Hibernicarum, regnante Elixabetha, ad annum
SaluHs MDLXXXIX. He was elected to the second master-
ship in Westminster School under Dr. Edward Grant, and,
upon the latter's resignation in 1593, was promoted to head-
mast». In 1597 he was appointed to the office of Claren-
cieux king-of-arms. Thb appointment occasioned ill feeling,
and in 1599 a public attack was made upon him by Ralph
Brooke. His books were held in high esteem, and passed
through many editions. — See DNB.
Jonson's dedication to Camden shows genuine regard and
appreciation. His gratitude is even more clearly revealed in
his fourteenth Epigram {Wks. 8. 151) :
Camden I most reverend head, to whom I owe
All that I am in arts, all that I know ;
(How nothing's that ?) to whom my country owes
The great renown, and name wherewith she goes)
Than thee the age sees not that thing more grave.
More high, more holy, that she more would crave.
What name, what skill, what faith hast thou in things I
What sight in searching the most antique springs I
What weight, and what authority in thy speech I
Men scarce can make that doubt, but thou canst teach.
Pardon free tmth, and let thy modesty.
Which conquers all, be once o'ercome by thee.
Many of thine, this better could, than I;
But for their powers, accept my piety.
n,g,i,7cd by Google
262 Euery Man in las Humour
II. ttw OTing downe ol Poetry, etc. The praise bestowed
upon poetry here accords well with JoDson's fine apology
for it in Q 5. i.503ff., where is spoken of as 'blessed, stemalj,
and most true deuine.' It is in harmony also with his dis-
cussion of the manner and function of poetry in Discoveries
{Wks. 9. 213) : 'Now the poesy is the habit, or the art ; nay,
rather the queen of arts, which had her original from heaven,
received thence from the Hebrews, and had in prime esti-
mation with the Greeks, transmitted to the Latins and all
nations that professed civility. The study of it (if we will
trust Aristotle) offers to mankind a certain rule and pattern
of living well and happily, disposing us to all civil offices of
society.* ... (p. 215) 'A rhymer and a poet are two things.
It is said of the incomparable Virgil, that he brought forth
his verses like a bear, and after formed them with licking.
Scaliger the father writes it of him, that he made a quantity
of verses in the morning, which afore night he reduced to
a less number. But that which Valerius Maximus hath left
recorded of Euripides the tragic poet, his answer to Alcestis,
another poet, is as memorable as modest : who when it was
told to Alcestis, that Euripides had in three days brought
forth but three verses, and those with some difficulty and
throes ; Alcestis glorying he could with ease have sent forth
an hundred in the space ; Euripides roundly replied, Like
enough ; but here is the difference, thy verses will not last
these three days, mine will to all time. Which was as much
as to tell him, he could not write a veise. I have met many
of these rattles, that nuule a noise and buzzed. They had
their hum, and no more. Indeed things wrote with labour
desetve to be so read, and will last their a^e.'.
17. And, had the boooi ol the times, etc. This passage
would seem to indicate that Jonson regards Every Man in
His Humor as the first fruit of his pen. There is an in-
timation, also, that his literary desires have not found fitting
encouragement and opportunity befoie.
23. repent yon. See Abbott, § 291, and Franz, § 630 c,
for a comment on intransitive verbs used transitively.
n,g,i,7cd by Google
Explanatory Notes 263
THE PERSONS OF THE PLAY
The names Tib and Cob are the same in both versions ;
Stephen, Matthew, and BobadiU are Anglicized forms of the
names in Q ; Clement has his title changed from Dr. to Justice
in F ; Well-bred simulates Prospero in meaning ; the other
names are entirely chanfed in F.
'The name Kno'weU is always thus spelled by Jonson, to
show that a w has been omitted. The full form would be
Knowell.' — Wh, Wheatley incorrectly prints the names of
the father and son of Q as Lozemo instead of Lorenao. This
custom of giving the persons in a play names indicative of
character became typical of Jonson ; cf. Sir Politick Would-
Be (Volp.), Morose {Epic.}. Zeal-of-the-land Busy {Bartk.
Fair), etc.
GalL Baskervill, in ]iis English Elements in Jonson's
Early Comedy (pp. 108 ff.) gives a detailed history of the
meaning of this word in the Elizabethan age. The specialized
type of simpleton designated by the appellati jn gull is graphi-
cally described by Sir John Davies in his second epigram :
Oft in my laughing rimes, I name a gull :
But this new terme will many questions breed ;
Therefore at first I will expresse at full.
Who is a true and perfect Gull indeed :
A Gull is he who feares a veluet gowne,
And, when a wench is braue, dares not speak to her;
A Gull is he which trauerseth the towne.
And is for marriage known a common woer :
A Gull is he which while he proudly weares,
A ^uer-hiJted rapier by his side ;
Indures the lyes and knocks about the eares,
Whilst in his sheath his sleeping sword doth bide:
A Gull is he which weares good handsome cloaths,
And stands, in Presence, stroaking up his haire.
And fills up his unperfect speech wiui oaths,
But spealcs not one wise word throughout the yeare :
But to define a Gull in termes precise, —
A Gull is he which seemes, and is not wise.
Davies returns to the subject again in Epigram 47 Medi-
tations of a GuU. In E. Guilpin's Skialethaa (1598), Epigram
by Goo i^ I C
264 Euery Man in his Bumour
20 gives a iurther study of the gull, Wheatley thinks it
curious that the term counlrey guU should be used for Stephen
when he lived no further from London than Hoxton ; but
Hoxton is described as thoroughly rural {see note on 1. 1. 49),
and the character of Stephen is consistently delineated as that
of a country fool.
Jnstice denunt. Justice Clement is rather closely modeled
on Dr. Clement of Q, who is described {3. 2. 51 ff.) as 'the
Gonfalionere of the state here, an excellent rare ciuilian, and
a great scboller, but the onely mad merry olde fellow in
Europe.' Wheatley comments on the fact that he bears his
cases in his own house in Coleman street, and not in the
Guildhall.
Water-beam. See note on tankard-bearer (i. 3. 112).
Oap. BobadiU, A PanlttMluul. ' Bobadilla ... is a common
Spanish name. In Antonio's Spanish Bibliography there are
no less than eight authors so named. This Spanish name
was probably introduced among the Itahan names on account
of the Gascon character of the man who bore it, and was
retained among the English names for same reason. — ^Wh.
It is recorded in N. &Q. 4. 7, 208 that the first governor
of Cuba, who sent Columbus home in chains, was Bobadilla.
There are frequent allusions in Jonson and elsewhere to
Paul's Walk, and the habit which dandies and fops had of
hobnobbing together there. Cf, Earle, Microcosmography
No. 52 :' It is the Lands Epitome, or you may call it the
lesser He of Great Brittaine. It is more then this, the whole
worlds Map, which you may here disceme in it's perfect'st
motion iustling and turning. It is a heap of stones and mai,
with a vast confusion of Languages and were the Steeple
not sanctified nothing hker Babel. The noyse in it is like
that of Bees, a strange humming or buzze-mixt of walking,
tongues and feet : It is a kind of still roare or loud whispw.
It is the great Exchange of all discourse, and no busines
whatsoeuer but is here stirring and afoot .... The Visitants
are all men without exceptions, but the principal! Inhabitants
and possessors, are stale Knights, and Captaines out of
Seruice, men of long Rapiers, and Breeches, which after all
n,g,i,7cd by Google
Explanatory Notes 265
turne Herchants here, and trafficke for Newes. Some make
it a Preface to their Dinner, and Trauell for a Stomacke :
but thriftier men make it their Ordinarie-: and Boord here
verie cheap.' Cf. also chap, 4 of Dekker's GuU's Horn Book
for instructions concerning a gallant's behavior in Paul's
Walk.
PROLOGVE *
This prologue is of unusual interest, since it contains
Jensen's explicit prc^am for 'humor-comedy'; in it he
flatly opposes the romantic tendencies of his generation, and
announces his determination to reject most of the popular
dramatic devices then in vogue, and to return to classical
models. His critical doctrine, however, was not unique.
Cf. Spingam, Critical Essays of the Saientemlh Century i.
xiii fE. 'The determining factor in Jonson's early outlook on
literature was Sidney's Defense of Poesie .... From it he
derived his sense of the high dignity of poetry, his conception
of the drama, and his classical point of view. Every critical
utterance in Every Man in His Humour . . . exhibits strong
marks of this influence. The prologue ... is ^ nobk patch-
work of passages from Sidney; the impassioned defence of
potjtry and of its high and serious intent, in the fifth act,
repeats the main argument of Sidney's work; even the
conception of 'humours' and of their function in comedy,
in the induction to Every Man out of his Humour, is in a
measure the adaptation of a fashionable phrase of the day
to Sidney's theory of comedy, though the genius of Jonson
has intensified and individualized the portrayal of character
beyond the limits of mere Horatian and R^aissance decorum.
That the glamour of a noble life, and the literary fame which
this very decade was adding to it, should fire the mind of
EUzabethan youth is not strange. Sidney's culture set its
seal on the young Jonson, and dedicated him to the classical
ideal." Baskervill {Eng. Elem. etc., p. 143) cites the follow-
ing further discussions on this point : Penntman, The War
of the Theatres, pp. 14 ft. ; Smith, Eliz. Crit. Essays i. xxxiff.,
and especially p. xliii.
n,g,i,7cd by Google
266 Euery Man in kis Humour
Gifford observed that this prologue is founded on the lines
from Martial which he took for the motto of Sejanus, Epi-
grams (ed. Gilbert) 10.4.9:
Non hie Centauros, non Gorgonas Harpyiasque
Invenies: hominem pagina nostra sapit.
For remarks on the date of the prologue, see Introduction,
p. Ixi.
12. To make a child, now swadled. etc. This is reminiscent
of Sidney's arraignment of the dramatists of his day for their
infringement of the rule for unity of time {Dejense of Poesy.
p. 48) : 'Now of time they are much more liberal. For ordi-
nary it is that two young princes fall in love ; after many
traverses she is got with child, dehvered of a fair boy, he is
lost, growetbaman, falleth inlove, and is ready to get another
child, — and all in two hours' space ; which how absurd it is tn
sense even sense may imagine, and art hath taught, and aD
ancient examples justified, and at this day the ordinary
players in Italy will not err in.' Cook adds a note to this
passage with a similar censure from Whetstone's dedication
to Promos and Cassandra (Hazhtt's Shak. Lib. Fart 11. 2.
204, or Collier's Hist. Eng. Dram. Poetry 2. 422) ; 'The English-
man in this quality is most vain, indiscreet, and out of order :
he first grounds his work on impossibihties ; then in three
hours runs he through the world, marries, gets children,
makes children men, men to conquer kingdoms, murder
monsters, and bringeth gods from heaven and fetcheth devils
from hell.' Cf. also the following from Cervantes' Don
Quixote Bk. I. ch. 48 (Sidney's Defense, ed. Cook. p. 119) :
' What greater folly can there be in the subject of our debate,
than to see a child appear in swaddling-clothes in the first
scene of the first act, and in the second a goodly aged man
with a beard ? . . . What shall I say also of their observance
of the time in which are to happen the acts which they present,
except that I have seen a coraaly in which the first act opened
in Europe, the second in Asia, the third in Africa ; and, had
there been four acts, the fourth would have ended in America,
and the play would have travelled to all the four parts of the
n,g,i,7cd by Google
Expianaiary Notes 267
world.' The maligna^ of Jonson have taken this for a satire
upon The Winter's Tale.
12. to proceedeHan. See proceedein Glossary. Cunning-
ham writes : ' This use of the word proceed is now con&ned
to the Universities. Jonson employs it frequently.'
15. foot-ani-halfe-Jootewoids. Cunninghamnotesthatthis
same phrase is used to translate sesguipedalia verba of Horace's
De Arte Poet. (Wks.i). By) : ' Projicit ampullas, et sesquifedalia
verba' — 'must throw by their bombard-phrase, and foot and
hall-foot words.' Wheatley remarks that it does not convey
the meaning Jonson intended — 'words a foot and a half
long' — for what he really says is 'words a foot long and half
a foot long.'
16. Fight ouer Yoike, and Lancasters long iarres. This may
have reference to the three parts of Henry VI, among other
plays.
17. iyring-hoose. Wheatley cites the two following illustra-
tions of this word : Earle, Microcosmography, No. 21 : 'He is
tragicall on the Stage, but rampant in the Tyring-house,and
sweares oathes there which he never con'd ; M. N. Dream
3. I. 3: 'This green plot shall be our stage, this hawthorn-
brake our tiring house.' Cf. also Cynth. Rev. Ind., p. 211 ;
' We are not so officiously befriended by him, as to have his
presence in the tiring-house, to prompt us aloud'; Stap.
News. Ind., p. 155 : 'I was in the tiring-house awhile to see
the actors drest' ; Jlf ag. Lady 4. 2, p. 85 :
We ^all mar all, i£ once we ope the mysteries
Of the tiring house, and tell what's done within.
20. WheteiMitherOhoras waits yon ore the seas. Gifiord
asserts that there was 'scarcely a play on the stage when
Jonson first came to it which did not avail itself of a Chorus
to waft its audience over sea and land, and over wide inter-
vals of time.' It is quite possible, however, that Henry V
was alluded to here. For further remarks upon Gifford's
theory re^ajding Jonson's relation to Shakespeare, see In-
troduction, p. Ixv.
by Google
268 Euery Man in his Humour
21. "Sat cwakiiig ttwme comw downe, the boyea to plwae.
Gifiord quotes the foUowing quotation from the epilogue to
the Scholar:
First for the gallery — in which the throf,e.
To their amazement, shall descend alone; ■
The rosin lightning flash, the monster spire
Squibs, and ev'n words far hotter than his fire.
For the allusion to pleasing the boys, cf. Aristophanes,
Clouds (tr. Hickie, p. 140): 'But see how modest she
(this comedy) is by nature, who, in the first place, has corae,
having stitched to her no leathern phallus hanging down, red
at the top, and thick, to set the boys a laughing' {Wheatley
alludes to Jenam's reference to thb passage).
22. nimble SQnilibe. See squibbe in Glossary. Cf. Ford,
Broken Heart (ed. Scollard) 2, 2, 6:
So squibs and crackers fly into the air.
Then, only breaking with a noise, they vanish
In stench and smoke.
23. rool'd ballet. Cf. Glossary, and note that bulla is
used in the modem sense in i. 5. 164. Wheatley says that
it was the stage-practice to produce theatrical thundei bj'
rolling a cannon ball along the floor, until the critic Dennis
invented the plan of shaking thin sheets of copper. He
quotes the following from Davies, Dramatic Miscellanies 2. 57 :
'I never heard of any improvement in the theatrical artillery
of the sky, if we except that sort of which Mr. Dennis claimed
the invention ; but whether he mixed any particular in-
gredients in the bullet, or ordered that a greater number of
them should be rolled in a particular direction, or whether
he contrived a more capacious thunderbowl, I am really at
a loss for information ; but, so jealous was he lest his art of
making thunder should be imparted to others, without his
consent, that Mr. Pope informs us, he cried out vehemently,
at some tragedy, upon hearing an uncommon burst of thunder,
"By G — .that's my thunder." Whether the same critic
invented the representation of heavy showers of theatrical
n,g,i,7cd by Google
Exflanatory Notes 269
rain, by rattling a vast quantity of peas in rollers, I am
equally ignorant.'
24. nor tempeatooos dromine Bumbles. Malone regarded
this as an allusion to The Tempest. See Gilford's Jonson
I . cclxxv.
2b. Bat dMdes, and langoage. such as men doe vse. Ci.
Sidney's Defense, p. 28 : ', . . Comedy is an imitation of the
common errors of our life, which he representeth in the most
ridiculous and scornful sort that may be, so as it is impossible
that any beholder can be content to be such a one ....
the sack of his own faults lie so behinde his back, that he
seeth not himself to dance the same measure, — whereto yet
nothing can more open his eyes than to find his own actions
contemptibly set forth '.
29. And Bport with humane lollies, not with crimes. This
distinction, as Whalley observes, is based upon the precept
of Aristotle that ri/ ysXolov is the innmediate subject of
comedy, while the crimes of men are the peculiar object of
tragedy. Jonson outlines his theory of comedy at more
length in Discoveries. He says, in part (Wks. 9. 221—2) :
' The parts of a comedy are the same with a tragedy, and the
end is partly the same ; for they both dehght and teach : the
comics are called dtSaaxai.ot of the Greeks, no less than
the tragics.
' Nor is the moving of laughter always the end of comedy,
that is rather a fowling for the people's delight, or their
fooling. For as Aristotle says rightly, the moving of laughter
is a fault in comedy, a kind of turpitude, that depraves some
part of a man's nature without a disease. As a wry face
without pain moves laughter, or a deformed vizard, or a rude
clown dressed in a lady's habit, and using her actions ; we
dishke, and scorn such representations, which made the
ancient philosophers ever think laughter unfitting in a wise
man. And this induced Plato to esteem of Homer as a
sacrilegious person, because he presented the gods sometimes-
laughing. As also it is divinely said of Aristotle, that tp
seem ridiculous is a part of dishonesty, and foolish.' Cf.
with this. Symposium {Di<Uogues of Plato, tr. Jowett i. 514) :
n,g,i,7cd by Google
270 Euery Man in his Humour
'Aristodemus did not hear the beginning of the discourse,
and he was only half awake, but the chief thing which he
remembo'ed, was Socrates insisting to the other two that
the genius of comedy was the same as that of tragedy, and
that the writer of tragedy ought to be a writer of comedy also.'
ACT i
1. 1. I. towaid. See Glossary^ Cf. As you Like It 5. 4.
35: 'There is, sure, another flood toward'; M. N. Dream
3. I. 81 ; 'What, a play toward 1 111 be an auditor.'
I. I. 5. pnsenUy. See Glossary. Cf. the following simi-
lar uses of the word : Matt. {AV.) 21. 19 : 'And presently the
fig tree withered away'; Phil. (AV.) 2. 23: 'Him therefore
1 hope to send presently' ; Lydgate, London Lackpenny, Min.
Poems (Percy Soc.) 105 : 'Then to Westmynster-Gate I pres-
ently went, When the sonn was at hyghe pryme' ; Two Gent,
ol Ver. 4. 4. 76 :' Go presently and take this Ring with thee."
1. 1. 6. Well sir. Whalley believes this to be an elliptical
expression for 'It is well, sir', probably borrowed from the
Latinfonnofspeakingusualon such occasions, e.g. : '... Rogo
numquid uelit; "Recte" inquit. abeo.' — Teren, Eun. (ed.
Fleckeisen) 2. 3. 50.
I. I. 7. should I esteeme. Should is a correction of
vould, the reading of Q. Esteeme supplants estimate of Q.
It is to be noted tiiat the use of the latter word in the sense
of esteem, consider, judge (a thing to be so and so) became
obsolete in the eighteenth century, while esteem with this
meaning still persists. See NED.
1. 1. 12. 01 good scoompt. in both cm vniuersities. This
recalls Jonson's statement to Drummond of Hawthornden
that 'he was Master of Arts in both the Univeisities, by their
favour, not his studie.' — Conversations with William Drum-
mond {Wks. 9. 389). Cf. 'all our Academies' of Q.
I. I. 14. Bat theii indulgence, most not spring in nie A
lond opinion, that be cannot erre. Cf. the reading in Q-
Their indulgence connects itself more naturally with the
preceding vniuersides than would this position of Q. The
n,g,i,7cd by Google
Explanatory Notes aji
expressions spring and fond, also, are more appropriate to
a doting father than breed and fast. See spring in Glossary,
and cf. Abbott, § 291, and Franz, § 630c. For a similar
transitive use of this verb, see Tale of a Tub I. 2, p. 132 :
As if he would leap my daughter yet ere night,
And spring a new Turfe to the old house 1
I. I. 16. Myselle was once a Btodent. Gifbrd notes that
this, with the four followtng lines, is paraphrased from a
speech of Hieronimo in the Spanish Tragedy :
When I was young, I gave my mind.
And plied myself to fruitless poetry ;
Which though it profit the professor nought.
Yet is it passing pleasing to the world.
— HazUtt's Dodsley 5. 147.
1. 1. x8. idlepoetrie. Note that Q omits the three follow-
ing lines, with their unfavorable characterization of poetry.
Compare also the high tribute to poetry in Q 5. i- 503 ff.,
whidi is omitted from F. This reflects the changing and
Gradually sterner conception which Jonson increasingly
geld ofhisart. That heshared, inameasure, thelyricaland
hnnantic tendencies of his age is manifest from his own
lyrical poems.
1. 1. 24. The vaine, bom th'rsetnll learnings. The lang-
uage of F seems clearly to indicate that purposeless poetry
(probably that popular in his own day) is to be branded as
a vain occupation. The Quarto is milder, recognizing merely
the supremacy of 'study' over a too great absorption in
'idle Poetrie.'
I. I. 28. L It was, as Wheatley points out, a common
practice to represent the word aye by a capital /. See Juliet's
pmi on 'that bare vowel I', Rom. and Jul. 3. 2. 45;
. . . Say thou but 'I',
And that bare vowel ' I ' shall poison more
Than the death-darting eye of cockatrice :
I am not I, if there be such an I ;
Or those eyes shut, that make thee answer 'I'.
If he be slain, say 'I'; or if not, 'no':
Brief sounds determine of my weal or woe.
n,g,i,7c.dbyG00'^lc
373 Euery Man in his Humour
I. I. 33. bocto at the MdwuM at hawking, tad hnntiDS.
Gifiord ronarks that books on the 'noble science ' of hayrkiiig
were to be found on every stall, and particularly in St. Paul's
churchyard. Here, in 1595, Humf^ey Lowndes sokl The
Boke of Saint Albans. The cekl»ity of this treatise led
Gifiord to hazard the opinion that it may have been the vvy
book Master Stephen had in view. It first appeared in 1485,
and had passed throu^ fourteen successive editions before
1595, when it was published in a revised form by Gervase
Harkbam. The Prologue to the Book of Hawking su^ests
its nature (quoted from facsimile published in 1881) : 'In so
mnch that gentlemen and honest persons have great delight
in Hawking, and desire to have the manner to take hawks :
and also how and in what wise they should guide them
ordinately : and to understand their sicknesses and infirmities,
-and to know medicines for them according, and many notable
terms that be used in hawking both of their hawks and of the
fowb that their hawks shall slay. Therefore this book follow-
ing in a due form shows very knowledge of such pleasure to
gentlemen and persons disposed to see it.' A treatise upon
hunting follows. This is written in rhyme, and seems intended
for boys. The 'dere child ' is instructed in the various kinds
of beasts to be hunted ; their changes of name ; the |»t>per
majuier of address to hounds, etc.
Other English books on the subject of hunting and hawking
of about this time are as follows : Geoi;ge Turberville's Book
of Falcottrie (1575, 2d ed. 1611) ; Gervase Markham's Gent-
leman's Academic (1595), and Country Contentments (t6ii);
William Grindal's Hawking, Hunting, Fowling, and Fishing
{1596) ; Simon Latham's Faulconry, or on Hawks and Hawking
{1619) {see Harting, Hawks and Hawking, p. 10, «.). A full
bibUography on the subject of hawking may be found in
Harting's Bibliotheca Accipilraria.
Hawking was an expensive sport, and Stephen's uncle
probably had good cause to warn him against it. As evi-
dence of this, Wheatky quotes the following, from Burton's
vlMdA>m>'o/^«fanc4o/y(ed.Chatto&Windus,i898,p. 190) :'...
Hawking and hunting [are] honest recreations, and fit for
by Goo i^ I C
Exflanatory Notes Z73
some great men, but not for every base inferior person ; whilst
they will maintain their falkoners, dc^s, and hunting nags,
their wealth, saith Salmutze, "runs away with their hounds,
and their fortunes fly away with their hawks." ' Harting
{Hawks and Hawkit^, p. 6) cites a bibliography for infor-
mation regarding the expenses involved in hawking.
I. I. 37. wnsse. See Glossary. Cf. Tale of a Tub i. 2,
p. 132; 'No, wusse'; Chaucer, Troilus (ed, Skeat 2. 474):
"No, wis," qaod he.'
1. 1. 38. IluHielioii|^tiaeah»wke.aiidaliQod,andbeUs,
and alL Q omits mention of a hood, a necessary part of a
hawker's outfit.
a hood. See Glossary. 'On being taken out of the net,
gently yet firmly by the legs, the hawk is immediately hood-
ed The hood renders it quiet It is fed once a day (in
the evening) ; the hood is not removed, but, having a large
opening in front, the bird is enabled to feed through it while
liekl upon the glove .... By degrees the bird gets tame
and will feed upon the hand without a hood.' — Harting,
Hawks and Hawking, p. 19 {1880). 'Having seel'd your
Hawk, fit her with a large easie Hood, which you must take
off and put on very often, watching her two nights, handling
her frequently and gently about the head as aforesaid. When
you perceive she bath no av^sion to the Hood, unseel her in
an Evening by Candle-light; continue handling her softly,
often hooding and unhooding her, until she takes no offence
at the Hood, and will patiently endure handling.' — Cox,
The GenUeman's Recreation, p. 194 (1677).
bells. 'Bells for trained hawks are of the greatest possible
use. They betray the whereabouts of the wearer, and save
an infinity of time and trouble when she has killed out of
sight ; and besides this, they proclaim to every stranger who
sees a lost hawk on the wing that she is private property, and
not wild. They are, practically, no impediment to the hawk's
fl^bt, except in the case of the very smallest species ; and their
sound probably augments tbe terror inspired in the quarry
by a stoop that has only just missed its mark. Bells have
been used in all countries from time immemorial .... An-
n,g,i,7cd by Google
274 Enery Man in his Humour
ciently, silver was much used for bells for the more valuable
hawks .... A good bell should be capable of being heard
distinctly on a still day more than a quarter of a mile, even
if lightly moved. The bell is attached to the hawk's leg by
a "bewit", which is fastened on in the same way as the jess.'
— Michell, The Att and Practice of Hawking, p. 41.
The following curious directions concerning hawk's bells
is fomid in the treatise on hawking in the Boke of Saint
Albans: 'The bells that your hawk shall wear look in any
wise that they be not too heavy over their power to wear.
Also that none be heavier than another but like of wei^t.
Look also that they be sonorous and well sounding and shriU
and not both of one sound : but that one be a semitone under
another. And that they be whole and not broken and
specially in the sounding place. For and they be broken
they will sound full dull.
'Of sparrow hawk's bells there is choice and little of chaige
of them; for they be plenty.
'But for goshawks, sometime bells of Melen were called the
best, and they be full good for they commonly be sounded
with silver and sold thereafter. But there be now used of
Dutchland bells : of a town called Durdright, and they be
passing good, for they be well sorted, well sounded, sonorous of
ringing in shrillness and passing well lasting.'
See also Heywood's Woman killed with Kindness {Wks. 2.
99):
Her Bels Sir Francis had not both one waight.
Nor was one semi-tune aboue the other ;
Mee thinkes these Millaine bels do sound too full,
And spoil the mounting of your Hawke.
I. I. 42. an' a mao bane not skill in the hawking, and
himting-langaages now a dayea. There is sufficient evidence
of the popularity of these sports in this general period.
Hentzner wiites in his Journey into England, in 1598: 'Haw-
king is the general sport of the gentry.' Carew in The
Survey of Cornwall, 1602, thus describes the sports of England :
'Fasttimes to delight the minde, the Cornish men haue
Guary Miracles, and three mens songs : and for exercise of
n,g,i,7cd by Google
Explanatory Notes 275
the body. Hunting, Hawking, Shooting, Wrasthng, Hurling,
and such other games.' Frederick, Duke of Wiirtemberg, in
his journal of 1610, relates the following anecdote of the king :
"The next day, Aug. 21st., he departed from Windsor, and
by the way had pleasant pastime in th^ parks with the game :
in one of the parks his Highness shot two fallow deer, one
with a gun, the other with an English cross bow,' — Rye,
England as seen by Foreigners in the days of Elizabeth and
James I, p. 71. Cf. the following allusion to hawking in
Tale 0/ a Tub 1. 1, p. 124;
He knows my lure is from his love, fair Awdreyl
I. I. 44. Tbey are more studied tixea the Greeke. or the
lAtllie. This is omitted in Q. It is a good touch, and
makes plainer the vogue of hunting in this period, when it is
recalled that Elizabeth liad set the nation the example of
being herself an earnest classical student.
1. 1. 46. consort tOT eaeiy hom-drnm. ' Consors : consorts,
mates, fellowes, complices, partakers, companions.' — Cot-
jtjrave. Cf, It., Sp. consorte and L. consors. Note the follow-
ing illustrative pass^es; Greene, Upst. Courtier 2. 219:
' To seeke good consorts and companions ' ; Marlowe, Jew of
Malta 5. 303 : 'Now, as for Calymath and his consorts, Here
have I made a dainty Gallery ' ; Massinger, Picture 5.3;' Take
the advice of j'our learn 'd consorts': Milton, P. L. (ed.
Masson 2. 961) :
With him enthroned
Sat sable-vested Night, eldest of things.
The consort of his reign.
Humdrum is a word without lineage ; the substantive is
adapted from the adjective, which is a reduplicating formation
from the verb hum. It appears not to have had wide usage
Two random examples follow : Religionism, p. 50 : ' Had not
the lazy beneficed humdrums ' ; Blackmore, Perlycross, p. 158 :
■There are none but humdrums, and jogtrots' (seeNED.).
See note on this word in Snell's edition of A Tale of a Tub,
p. 128,
1. 1, 47. scroyles. ' Les Escrouelles. 'The kings euill,' —
n,g,i,7cd by Google
276 Euery Man in his Humour
Cotgrave. 'Of obscure origin. The conjecture that it is a.
OF. escroele, scrofulous sore, is not quite satisfactory as to
form, and the assumed development of sense, tliough plausible,
has no evidence.' — NED. Cf. the following uses of the word :
K. John 2. I. 373: By heaven! these scroyles of Angiers
flout you, kings' ; Poet. 4. i, p. 446: 'I cry tiiee mercy, my
good scroyle, wa-s't thou'; Taylor, WaUr-cormoratU: 'Then
upon Sabbath dayes the scroyle beginnes With most vnhallow-
ed hands, to weed vp sinnes. '
I. I. 49. Hog8d«D. 'Hoxton, mentioned in Domesday as
Hocheston, a manor belonging to the catliedral of St. Paul,
whose property it still is, a suburban district within the
parish of St. Leonard, Shoreditch, lying to the north of the
Shoreditch end of the Old Street Road and west of the Kings-
land Road. Stow in 1598 described it as "a lai^e street with
houses on both sides". ... In Hogsden Fields Ben Jonson
killed in a duel Gabriel Spenser, the player .... Hoxton
Fields were a great resort of the citizens on hoUdays. One of
the dreams of Sir Epicure Mammon was that —
He would have built
The city new ; and made a ditch about it
Of silver, should have run with cream from Hogsdra ;
That, every Sunday, in Moor-fields the younkers,
And tits and tom-boys should have fed on, gratis.
Alchemist 5. 3, p. 175.
Ben Jonson, who evidently knew Hoxton well, speaks of it as
"the country." His master Stephen, a "country gull," lives
at Hogsden .... Hoxton has long ceased to be rural, and
is now populous and poor." — Wheatley and Cunningham,
London Past and Present 2. 245.
I. I. 50. the arohen ol Fiiubtirie. 'Finsbury Fidds, the
open tract north of Moorfields. Popularly the name was
given to the fields "which stretch along tiie north part of
Crippl^jate through Moorfields and readi to some parts of
Shoreditch parish," to Hoxton, and as far north as Islington
Common. These fields were kept open and undivided for
the practice of the citizens in ardiery .... While the fields
were yet open they w^e marked out for the use of archers
n,g,i,7cd by Google
Explanatory Notes 277
with wooden posts (bearing a crest on the top] and butts for
target or standing practice, and stone pillars or rovers, for
shooting at distances, long piactice, or roving.' — ^Wheatley and
Cunningham, London Past and Present 2. 42, Cf. i Hewy
/K3. 1.^57: 'As if thou never walk'dst further than Finsbury';
BartA-FaJf 3.3,p.507: 'Nay.sir, stand not you fix'd here, like
a stake in Finsbury to be shot at ' ; Dekker, Shoemaker's
Holiday {Wks. i. 29) : 'And if I stay, I pray God I may be
turned to a Turk, and set in Finsburie for boyes to shoot at.'
I. I. 51. Islington ponds, '/s/tngtoit, an extensive subur-
ban parish, extending north from Clerkenwell to Highgate
and Horosey, and east and west from Shoreditch, Hackney,
and Stoke Newington to St. Pancras .... As a village, Is-
lington was originally considered remote from London ; but,
like Chelsea, on the other side, it is now a part of this great
-and increasing metropolis .... Islington was famous for its
dairies, brick-kilns, houses of entertainment with their tea-
gardens and ducking-ponds, cheese cakes and custards, and
fiehls, the favorite Sunday resort of rural-minded citizens.' —
Wheatley and Cunningham, London Past and Present 2. 266.
See also Pepys' Diary, March 27, 1664 : ' Walked through the
ducking-pond fields ; but they are so altered since my father
used to carry us to Islington, to the old man's, at the King's
Head, to eat cakes and ale (his name was Pitts) that I did not .
know which was the duckmg-pond nor where I was.'
I. I. 32. Slid a genilenum man show himanii^i This is
one of the rare instances where an oath is added in F which
is not present in Q. See mun in glossary, and note that it
replaces must of Q.
I. I. 55. absurd cocks-oombe. This exfo'ession is sub-
stituted for 'selfe-wild foole' of Q. The new appellation
bettCT describes the typical kind of character which Jonson's
comedy of humors is to satirize.
I. I. 60. kite. Q reads 'buzzard,' and Gifiord inserted
this word in his text. The words were not strictly synony-
mous, but were commonly confused, as the glossary indicates.
See Introduction, pp.xxiiiff., for further comments upon the
liberties Gifford took with Jonson's text.
by Goo i^ I C
Z^S Euery Man in his Humour
I.I. 6i. And know not how to keepe it, when yon ha' done.
A glance into any of the early books on hawking makes it clear
that this recreation was then r^arded under the aspect of a
real science. Considerable study must have been necessary
to master the many rules and directions impmsed upon the
falconer. For example, he must be able to make lures, hoods
of all sorts, jesses, bewits, 'and other needful furniture for his
hawk ' ; he must know the method of coping his hawk's beak,
pounces, and talons; he must thoroughly understand the va-
rious diseases to which a hawk is prone, such as gout, rheum,
fever, blains, agrum, pip, frownce, etc. These are but a few out
of many regulations, but they are sufficient to illustrate that
Master Stephen had made but a small beginning in having
secured a hawk, hoiul, and bells, and that his lack of 'a book'
must have seemed serious indeed toageotleman of the period.
- — See Cox, The Gentleman's Recreation, or Bemers, Boke of
Saint Albans.
I. I. 62. comelr. This adjective, in the sense of appro-
priate, seems more fitting here than the brave of Q, a general
epithet of admiration.
I. I. 71. ooyne. This more general word is substituted
for the crowties of Q ; the motive was pwhaps to make a more
sweeping caution against the extravagant use of money.
I. I. 72. enet; toolish braine. Cf. everyone, the reading
of Q, and note the greater concreteness of the revised form.
I. I. 73. I would not hane 70a to innsde each place, etc.
The corresponding passage in Q has the same number of lines,
but has one additional idea, that of ' invading each place,'
which points to greater compression in F. The general
management of the thought is also better in the latter.
Thrust yourselle is substituted for intrude yoursdf ; while the
two words rank as synonymous in a dictionary, the connotation
of the former is more obnoxious, and it is, accordingly, better
for the present purpose. All societies sufficiently conveys
Jonson's general idea here, and is shorter than euerie gentle-
mans societie. The substitution of mens for their is necessary*,
with the altered form of the sentence. Should, with its idea
of obligation, is better than do, the simple expression of
.n,g,i,7cd by Google
Explanatory Notes 279
futurity. To your ranke is a distinct improvement upon the
vague to the place of Q.
Compare Polonius' advice to Laertes (Ham. i. 3. 61 ff.}, and
contrast that given by Lord Chesterfield to his son. Basker-
vill (English Elements in Jonson's Early Comedy, p. 141, n.)
gives the following list of parallels to this type of advice in
English literature : Euphues, Works of Lyly i, ^9ff- (repeated
in almost the same form on p. 286) ; 2. 16 S., 149, 187 ff. ;
Lodge, Rosalind, near the beginning ; Lodge, Euphues his
Shadow, Hunterian Club, p. 13 ; Margarite of America Hunt.
Club, pp. 18, 19 ; Fig for Momus, Hunt. Club, p. 59 ; Alarum
against Usurers (Shak, Soc, p. 75) ; Greene, Carde of Fancie,
Works (ed. Grosart 4. 21, 22) ; Mourning Garment {9. i37ff.) ;
Breton, Wits Trenchfnour, pp. 14 and 18. Baskervill cites
a further study on the ultimate sources of these lists in
Fischer's edition of How the Wise Man Taught hys Sone
(Erlanger Beiirage r, 2. riff.).
I. I. 77. comses. There seems to be no particular point
in the substitution of the plural for the singular of this noun,
as it appears in Q.
I. r. 78. cheape market 'The substantive cheap had
originally the same meaning as the word market, but being
generally used with the adjective good (Fr. bon marchf), it
became in course of time an adjective itself with the word
good imderstood. "Cheap market" here means a low-priced
market.' — Wh. Q reads vUe and cheape here. For the use
of adjectives in an adverbial sense in the latter, see Abbott,
§ I, Franz, § 368.
I. I. 80. La Hashing braoerie. See brauerie in Glossary.
Cf. Epic. 4. 2, p. 445 :
Hau. Sir Dauphine is valiant, and a wit too, it seems.
Man. And a bravery too.
Cf. also Dev. is an Ass, where Pug, after marveling at Lady
Fitzdottrel's gay apparel, remarks (2. i, p. 59) : 'Helll why
is she so brave ? '
I.I. 86. Not, that your sayle be biggei then yoai boat. Sec
IntroducUon, pp. xlviii ff., for other figurative expressions in
n,g,i,7cdb? Google
28o Euery Man in his Humour
this play. The present reading is more graphic than the
beare a low saiie of Q.
I. I. 88. As yon may keepe, etc. This use of as in the
sense of that, with reference to the future, shows a difference
in Elizabethan as against modem usage, where it reias
usuaUy to the past or present. As, in thb sense, ordinarfly
follows so, bill occurs less commonly without the antecedoit
so. See Abbott, § 109, and Franz, § 572. Cf. Epic. i. i,
p. 345 : ' . . . that continence in a barber he thinks so eminent
a virtue, as it has made him chief of his counsel ; ' Tarn. Skr.,
Ind. I. 69:
My lord, I warrant you we will play our part.
As he shall think by our true diligence
He is no less than what we say he is.
1. 1.89. Not,staiidsomadionyoiirgeiitilitie,etc. Wheat-
ley suggests that Juvenal's eighth Satire, conunencing
'Stemmata quid faciunt,' was probably in Jonson's thoughts
when writing these lines. The following quotation (119—20,
Gifford's translation) shows the tenor of the satire :
What boots it, on the Lineal Tree to trace.
Through many a branch, the founders of our race,
Time honored chiefe ; if, in their sight, we give
A loose to vice, and like low villains live ?
Say, what avails it, that, on either hand.
The stem Numantii, an illustrious band.
Frown from the walls, if their degenerate race
Waste the long night at dice, before their face ?
If, staggering, to a drowsy bed they creep.
At that prime hour when, starting from their sleep.
Their sires the signal of the fight unfurled.
And drew their l^ons forth, and won the world ?
Wheatley also cites the foUowmg sentiment from Sir John
Reresby, in the opaiing of his Manoirs : ' It is a mean thing
to endeavor to raise oneself higher by standing upon the
shoulders of the living, or on the tombs of the dead.
Perit omnis in Illo
Nohilttas cujus Laus est in Origine Sola.
n,g,i,7cd by Google
Explanatory Notes 281
That person's honour cannot be long-lived
Which only from his pedinee's derived.'
— Memoirs of Sir John Reresby (ed. 1875, p. i).
1.2.2. m do' not stand much on oat sentilitie. Gifbrd
notes how little efiect salutary counsel has on such 'com-
pounds of imbeciUty and vanity' as master Stephen: 'Of
all the instructions delivered in this admirable speech, he
avails himself but of one, and that one affects his self-im-
portance." Wheatley observes also that it is introduced witli
peculiar inappropriateness here. Jonson seems to regard it
as a good touch, for he repeats it in 1. 25, while Q lacks the
second occurrence.
1. 2. 5. 1 amhia next heire. Stephen's claim to bis uncle's
property, as following that of youn,, Knowell, is substantiated
by the following statement : ' If any person or persons dye
seized as aforesaid, and shall leave behind him neither son
nor daughter ; then the next of his or their kinne (being of the
whole blood) shall be heire or heires to the said person 01
persons so dying seized : that is to say, his, her or their
brother or brothers, brother or brothers children, or childrens
children, according to the custom of Gavelkind : & so forth,
as long as any of that issue shall be alive, being of the whole
blood.' — Stow, Survey of London (1633), pp. 724-3,
I. 2. 8. prettie lining. This would indicate a slightly
la^er estate than the fatre living of Q.
I. 2. II. Boot. See Glossary. Cf. 'se mocquer, to mock,
float, frump, scoff, deride, jest at, laugh to scome ; to gull,
gudgeon, frustrate, make a foole of, disappoint.' — Cotgrave.
Cf. Macb. I. 2. 49 ; 'Where the Norweyan banners flout the
side'; Heywood, Wontan Killed {Wks. 2. 116): 'Now will
I flout 'her pouerty.'
I. 2. 13. j'oa were not best. This is a survival of an old
impersonal idiom, in which you was in the dative case. Cf.
such expressions as 'if you please.' See also Abbott, § 352,
Franz, § 627 c, and Greenough and Kittredge, Words and Their
Ways, p. 204. Cf. King John 4. 3. 93 : 'Thou wert better gall
the devil'; 2 Hen. VI 5. 1. 196: 'You were best to go to tied.'
I. 2. 23. good my saaoie oompanion.
n,g,i,7cd by Google
sSa Euery Man in his Humour
jectives, when unemphatic, were sometimes transposed io
Elizabethan English. See Abbott, § 13, and Franz, § 328.
Ct Ham. I. 3. 46: 'Good my brother'; Jul. Ctss. 2. i. 255:
•Dear my lord.'
I. 2. 27. madumicall. 'Meckanique, mechanicall, bdong-
ing to an handicraft, base, meane, ordinarie, vik.' — Co^rave.
Wheatley cites the following quotation from Phillips' Nev
World of Words, 1706 : 'Mechanical or mechanick, belonging
to the mechanicks ; also pitiful, base, mean ; in regard that
the Mechanick Arts or Handicrafts are inferiour to the Libeial
and more noble sciences.' Wheatley notes also the similar
usage in the Greek ffavavoog. Mechanical is first an epithet
applied to the class of handicraftsmen or artisans, who lead
a sedentary life, despised among warUke or nomad people ;
then, by extension, a mere mechanical art comes to be known
as a base, ignoble art.
1. 2. 31. the hoDwt man demeanes bimselfe. Cf. Q, with
gentleman in the place of honest man, and note a similar change
in t. 2.59. Grabau remarksupon this type of change (p. 86) :
' Sehr zahlreich sind die Falle, wo der Dichter durch scharferes
Denken und genauere Unterscheidung sich zu einer Besserung
des Ausdrucks bewogen sah.' A servant is hardly to be
honored with the title of gentleman.
I. 2. 40. I ahoald enquire lor a gentleman, here. Should
involves the idea of obligation here. Cf. Abbott, § 323, and
Franz, § 620 m. I.
1. 2. 71 ff. The lettN. The letter is entirely rewritten
from Q. It has gained considerably in concentration and
appropriateness to English conditions. Gifford calls the
letter In Q 'pert, silly, and intolerably affected.' Grabau
otiserves that there is a difference in the motivation of Old
Knowell's actions at this point (p. 92) : 'Darauf ist die Um-
arbeitung des Briefes berechnet, und die durch den Brief ver-
letzte Eitelkeit ist das starkste Motiv fiir den Vater, dem
Sohne In' die Stadt zu fo%en. In der Quarto ist es haupt-
sachlich die Betriibnis um den Sohn, der Zom fiber die
schlechte Gesellschaft, in die er geraten zu sein scheint.
Dort fasst der Vater sein Bedauem iiber den Brief noch in ein
n,g,i,7cd by Google
Explattalory Notes 283
schones Bild : "The modest paper eene lookes pale for grief,
etc." In der Folio kommt anstatt dessen die personliche Ge-
reiztheit zum scharfsten Ausdruck : "Why should he think
I tell my apricots, etc."'
Q 1. 1. 145. Apollo hath got thee to be his Eagle. See ingle
in Glossary. Cf. Poet. 1. 1. p. 378 : "What I shall I have my
son a stager now ? an enghle for players ' ; Case is Alt. i. I,
p. 304: 'Welcome, sweet ingle'; Epic. r. i, p. 334: 'What
between his mistress abroad and his ingle at home.' Apollo
is referred to here as god of song and music.
Q I. I- 152. Chariea wayne. ' In astronomy, the seven
brightest stars in the constellation Ursa Major, or the Great
Bear, which has been called a wagon since the time of Homer.
Two of the stars are known as the pointers, because, being
neaily in a right line with the pole-star, they direct an ob-
server to it. Also called the Plow, the Great Dipper, the
Northern Car, and sometimes the Butcher's Cleaver. [(Late
AS carles wan, the wain of Charles, that is Charlemagne.
In the seventeenth century the name was associated with
that of Charles I. and Charles 11.— CD.
Q I. I. 153. qnis contra dinoa. I have been unable to
locate this phrase. It is apparently used here in the sense,
'[But] who [would strive] against the gods?'
Q I. X. 161. tbon oooU'st be no Poet else. This is perhaps
a gibe at the contemporary poets whom Jonson saw fit to
lecture.
Q I. 1. 162. wooU lor thine Inke-home. The inkbom of
this period was a small portable one, usually made of hom
{see NED.]. Perhaps the wool referred to was for a penwiper.
It furnished opportunity, at any rate, for a pun in the follow-
ing line.
Q 1. 1. 178. then eytber the HaII-3eadle. or Poet NnntiDs.
Small regards this as a reference to Anthony Munday. See
Stage Quarrel, p. 177 : ' In the quarto edition of Every Man
In . . . there is one clear hit at Munday which was expunged
by Jonson in his revision of the play .... Now Hunday had
been, as we have seen [ibid., p. 172], Messenger of Her Ma-
jesty's Chamber; the reference must be to him.' Cf. also
n,g,i,7cd by Google
284 Euery Man in his Humour
Nicholson's comment in Antiquary 6. 107: That this poet
Nuntius was Anthony Mimday was made obvioos to the
doiser among the audience by the suggestive pre-reference
to the Guildhall Beadle.' F reads ' Poet-maior ' at this point.
I. 2. 72. dd lewrie. 'Although Well-bred jokes about
the name of the old Jewry, there were no Jews living tho*
then.' — Wh. See Wheatley and Cunningham, London Past
and Present 2. 309: 'Jewry, a quarter in the City appro-
priated as a dwelling-place for the Jews In the following
reign (19 Edward 1., 1Z91) the Jews were expelled from their
houses and banished the realm, and, says Stow, "the Kmg
made a mighty mass of money of their houses, which he sold."
This Jewry, no doubt, came to an end at that time. Mr.
Joseph Jacobs read, in 1887, an important paper on "The
London Jewry," 1290, . . . and in this paper he expressed the
opinion that at the period of the expulsion the Jewry out of
Ciieapside was no longer inhabited by Jews, and that it had
already become the Old Jewry.' See also ibid., p. 613 : 'Old
Jewry, astreet runnmg from the north sideof the Poultry to
Gresham Street, so called as being in the Middle Ages the
Jews' quarter of the City.'
I. 2. 74. Iripperie. See Glossary, ' fripme : A friperie ;
Brokers Shop, street of Brokers, or of Fripiers.' — Cotgrave.
1632. 'Cenciario, a frippery of old ragges. Cencittro, a
fripper or broker of old rags or filthy cloathes.' — Florio.
GifEord cites the following illustrative passages : Massinger,
in City Madam 1. 1, p. 316, says of Luke, when he entos with
shoes, garters, fans, and roses : ' He shewes like a walking
frippery.' Of, Temp. 4. i. 222: Trin. ... O worthy Ste-
phano I look what a wardrobe here is for thee I
Col. Let it alone, thou fool ; it is but trash.
Trin. 0,ho, monster ! we know what belongs to a frippery.
I. 2. 76. as was betweene lewes, and hogsJlesh. Pork
was forbidden for food by the Mosaic law. See Levit. Ii. 7.
I. 2. 77. apricots. The fact that Queen Elizabeth, in
1571, sent the French ambassador a basket of apricots as a
sample of England's fine fruit, throws light upon the culture
n,g,i,7cd by Google
Explanatory Notes 285
of the ajmcot in England at this time, and upon the esteem
in which it was heJd. See Corres. Dipt, de, Finelon 4. 200 :
'Madame, mardy dernier, le S'. BamaM, que bien vous
cognoissez, m'est venu printer les recommendations de
M'- le comte de Lestre, de qui il est secretaire, et me dire que
le diet sieur comte avoit aussi charge de me mander les te-
commendations de la Royne, sa Mestresse, et ung des panieis
de son cabinet, oii elle tient les petites besoignes de ses
ouvrages, qu'il m'a incontinent bailli, lequel elle m'envoyoit
plein de fort beaiilx abricotz, pour me faire veoir que I'Anglc-
terre est ung assez bon pays pom produyre de bons fruictz.'
Cf . Epic. 4, I, p. 412 ; ' Give cherries at time of year, or
apricots; and say, they were sent you out of the country,
though you bought them in Cheapside' See also note on
apricots in Wheatley's edition of Every Matt In, p. 132-
I. 2. 83. our Tnrkie ocmpanie neoer sent the like to the
6nuid>SlKnioi. The Turkey, or Levant, Company, placed an
active part in English history for 244 years. Besides the
amount of wealth it accumulated, it did infinite service in the
development of art and research, geography and travel, the
suppression of slavery, and the spread of civilization in coun-
tries which would still have been unapproachable, had not the
continued efforts of the 244 years been toward civilization
and humanity. See Bent, Early Voyages arid Travels in the
Levari, p. ii. In 1579, three meichants were sent to Con-
stantinople, in an attempt to gain for English merchants
the same social and commercial privileges that other nations
enjoyed. In 1581 Queen Elizabeth formed a tieaty-charter
with Amurath III for five years, and granted letters-patent
to a small company, entitled 'The Company of Merchants
to the Levant.' See ibid., pp. vii, viii. The ' Grand-Signior '
refers to the Sultan. There are records of costly presents
sent from England to the Levant. Hakluyt {6. 100, 102)
gives an account of the gift which Sir Edward Barton, the
first resident ambassador at Constantinople, took on his ship
for the Sultan Amurath III in 1593. It consisted of '12
gogdly pieces of gilt plate, 36 garments of fine English cloth
of all colours, 20 garments of clotK of gold, 10 garments of
n,g,i,7cd by Google
286 Ettery Man in kis Humour
satin, 6 pieces of fine HoQand, and certain other things ot
good value.' To his wife, the Sultana Safiye, Elizabeth sent
ajewelof her Majesty's picture set with rubies and diamonds;
' 3 great pieces of gilt plate ; lo garments of cloth of gold ; a
very fine case of glasse bottles, silver & gilt ; with 2 pieces
of fine Holland.' In the State Papers for January 31, 1599,
occurs the following entry: 'A great and curious presoit is
going to the Grand Turk, which will scandalize other nations.
especJaUy the Germans.' The present was a great and com-
plicated organ, which Thomas Dallam made as a gift frcHn
Queen Elizabeth to the Sultan Mohamed III. Dallam him-
self presented it to the Sultan ; an interesting account of tliis
experience may be found in Dallam's Travels with an Organ
lo the Grand Signieur (ed. Bent, pp. 60 ff.). See also CasteJain
{Ben Jonson. p. 882] : 'Or, dans le Calendar of StatePapen
{Dom), je releve en juiUei 1605 {Jatnes I, vol. XV, 1603—1610,
p. 228) une pititioH dcs Marchands faisant le commerce dans le
Levant demandant "thai the King would bear the expense of a
present which must be sent lo the Grand Seignior ; " d aw 13 di-
cembre dtla mime annie (ibid., vol. XVII, p. 270) un " Warrant
to pay to the Governor and Company of merchants, now incor-
porated, trading to the Levdnt seas, 5322 lbs. for a present lo
the Grand Seignior."'
z. 2. 91. aa TDOonscioiULbh, u any Qaild-lull wdieL
'Guildhall {The), of the city of London, in the Ward of Cheap,
is of unknown antiquity, but there is reason to beUeve that it
was in existence as early as the 12th century.' — ^Wheatley
and Cunningham, London Past and Present 2. 169. Price, in
his Descriptive Account of the Guildhall of the City of London.
pp. 3—4, says of it : Associated it has been in one way or an-
other with almost every occurrence of importance belonging to
the history of this country, whether such be related to Royalty,
Politics, Law, Commerce, or Fubhc Ceremonial ; . . . the edifice
is one which with the citizens of London must ever command
an interest unsurpassed by any other of their public buildings.'
The allusion to the severity of a Guildhall verdict is amply
verified by the accounts of famous trials in the Guildhall re-
corded by Price, pp. 2050. : 'If the walls of the venerable
n,g,i,7cd by Google
Exfianatory Notes 287
boildiog haVe at times resounded with shouts of revelry and
mirtb, they have, on more than one occasion, been silent wit-
nesses to scenes of sorrow and cruel persecution. Within
their precincts, dedsions have been given which must forever
cast a shadow over many a page of English history. Trials
resulting in unwarrantable sentences have taken place which '
a more enlightened age can but now look back upon with
mingled feelings of pain and sorrow.' Among the most
famous of these are the trials and condemnations of Anne
Askew, 1546, the Earl of Surrey, 1547, and Lady Jane
Grey. i553-
1.2.93. the wind^milL The Windmill Tavern was a noted
resort at the comer of Old Jewry and Lothbury. Stow says
it had originally been a synagogue. ' It is now a Taveme,
and hath to sign a Wind-mill. And thus much for this house,
sometimes the lewes' Synagogue, since, an house of Friers,
then a Noble-man's house, after that, a Merchant's house,
wherein Maioralties have beene kept, and now a Wine-Ta-
veme' — Stow, Survey of London (1633), p. 288.
1.2.94. Bordello. See Glossary.
I. 2. 95. The Spittle. 'A hospital or spital always signi-
&ed a charitable institution for the advantage of pow, infirm,
and aged persons, an almshouse, in short ; while spitUes were
mere lazar-houses, receptacles for wretches in the lejnosy,
and other loathsome diseases, the consequence of debauchery
and vice.' — G. (ed. Hassinger 4. 52). 'Here the allusion is
local, and, without doubt , applies to the Loke or Lock, a spittle
for venereal patients, situated, as Whalley observes, at Kings-
land, in the neighborhood of Hogsden.'-rO. Dekker, in The
Bdman of London, p. 152, in enumerating the favorite haunts
of prostitutes, says: 'The Spittle flourishes with the yong
fry, that are put to it to leam it.'
1.2.95. Piet4iatdl. 'Picthatch or Pickehatch, a noted
receptacle for prostitutes and piclcpockets, generally supposed
to have beai in Tummiil Street, near Clerkenwell Green,
What was Picthatch is a street at the' back of a narrow turning
called Middle Row (formerly Rotten Row) opposite the
Charter House in Goswell Road.'— Wheatley and Cunningham,
n,g,i,7cd by Google
388 Euery Man in his Humour
London Past and Present 3. 92. The following iUustrattve
qootatioDS are noted after the passage cited above : Drnn.
Pars, before Every Man Out (Wks. 2. 7) : Shift, a thread-
bare shark .... His profession is skeldring and odling, his
bank Paul's, and his warehouse Picthatch'; Middleton, Tke
Black Book (Wks., ed. Bullen, 8. 11) : 'I proceeded toward
Pict-hatch, intending to b^in there first, which (as I may
fitly name it) is the very skirts of all hrothelhouses.'
I. 2. 106. Hesperian Dragon. Ladon was a dragon, who
assisted or superintended the sweet-voiced Hesperides in tbeii
watch over the golden apples which Ge had given to Hera, at
her marriage with Zeus. See Smith 's Dictionary of Greek and
Roman Biography and Mythology 2. 443—4. Cf. Greene,
Frier Bacon and Frier Bungay {Wks., ed. Grosart 13. 59) :
Shew thee the tree, leavd with re&ned gokl.
Whereon the fearfidl dragon held his seate.
That watcht the garden cald Hesperides,
Subdued and wonne by conquering Ho-cules;
Pleasure Reconciled io Virtue ( Jonson's Wks. 7. 305—6) :
See here a crown the aged Hill hath sent thee.
With the best sheep that in his fold were found,
Or golden fruit in the Hesperian ground.
For rescuing his fair daughters, then the prey
Of a rude pirate, as thou cam'st this way
She gives an eiitraJice to the Hesperides,
Fair Deauty's garden.
1. 2. 107. Wdl, mr soime, Iliad ttioagbt Tliad had men
lodgement, etc. Cf. Q. The substitution, in this speech, of
the second person for the third, and of concrete expressions
for abstract, has given it decidedly greater vigor and vividness.
The picture, also, of a fath^ acting foolishly from an excess
of parental affection, is more intelligible than of one with his
senses abused by foolish opinion.
1.2.124. lamresohi'd, I willnot itopbis ionmey. This
speech is reminiscent of similar opinions entertained by the
indulgent tyfe of father often found in Roman comedy. In
Ptautus' Bacchides, old Philoxenus deplores the extravagant
n,g,i,7cd by Google
Explanaiory Notes 289
excesses of his son, but declares that the methods which
parents io general employ toward theii sons displease him,
remarking (ed. Loeb 4. 10. 6) : ' Ego dare me meo gnato
institui, ut animo obsequium sum^e possit'. (I have deter-
mined to give some latitude to my son, that he may have
some scope for his inclinations.) Note that Q reads crosse,
instead of stop. Grabau calls this an improvement (p. 86) :
'Den& kreuzen will er die Reise ja gerade, nur nicht ver-
hindern.' Cross, however, may have the sense of stop or
hinder in it. See Glossary.
1. 2. 128. Like to the eager, but the seneroiu grey-honnd,
etc. See generous in Glossary. The but here, as Wheatley
suggests, is misleading. Wheatley comments upon the favor
in which the greyhound has been held by gentlemen in the
past, and relates that Charles I was fond of his greyhound,
and when Sir Philip Warwick expressed his opinion that the
King preferred that dog to the spaniel, he replied : * Yes, for
they equally love their masters, and yet do not flatter them
so much' (see Youatt, The Dog, p. 29). He cites, also, the
following curious anecdote, which does not bear out Jonsoo's
view of the dog's nature (ibid., p. 37} : "The isle of Cyprus has
tot many years been celebrated foi its breed of greyhouna.
On grand days or when the governor is present, the sport is
conducted in a curious manner. When the hare is ready to
become the prey of its enemies, the governor rushes forwards,
and, throwing before the greyhounds a stick which he carries,
they all instantaneously stop. The hare now runs a little
distance ; but one of the swiftest greyhounds is then let loose.
He pursues the hare, and, having come up with it, carries it ,
back, and springing on the neck of the governor 's horse, places
it before him. The governor delivers it to one of his officers,
who sends it to the park, where he maintains many prisoners
of the same kind ; for he will not destroy the animal that has
contributed to his amusement.'
1. 2. 131. Then is a way ol winning, etc. Jonson was
keenly alive to the places in the earlier version which could
be expanded to advantage. This rather fine speech is all
derived from the following two lines m Q :
n,g,i,7cd by Google
390 Euery Man in his Humour
Therefore tie studie (by some milder drift)
To call my sonne vnto a happier shrift.
Whalley pointed out the kinship of this passage to Terence's
AidpM (ed. Loeb 1.S7S.):
Pudore et liberalitate liberos
Retinere satius esse credo quam metu, etc.
' In my view honour and gentlemanly feeling are better curbs
on a gentleman's son than feai.'
I. 3. 15. irtiat-sha'-oalMiiiii donUet Wheatley remarks
that Jonson was partial to these compound fdirases. The
following are typical : Alch.i.i, p. 12: ' livery-three-poond-
thnim' ; Every ManOtU 3, 2, p. 112 : ' thread -bare, borse-bread-
eating raskals ' ; New Inn 5. i , p. -402 : ' to-be-married ' ; ibid.
5. 1, p. 404 : 'un-to-be-pardon'd ' ; Devil is an Ass 3. i, p. 85 :
' too-too-unsupportable.'
1. 3. 18. 0, I ha' nudi a minde, etc. The addition of a
half line in F often greatly improves the passage by more
clearly revealing the speaker's frame of mind. Cf. Q. i. 2. 19,
F. 1. 3. 18; Q 1.2. 20, F 1.3.20.
1.3.26. honon 8cand«r-bag logue. Scanderbeg, or Is-
kender Bey {1403— 1467), 'the Dragon of Albania,' was the
national hero of the Albanians. His real name was George
(Giorgio) Castriota, and the name of Iskender Bey (Prince
Alexander) was given to him by the Turks, in complimentar>'
reference to Alexander the Great. In 1423, he, together with
his three brothers, was sent as a hostage to the Turks, He
won the favor of the Sultan, and remained in the Ottoman
service for twenty years. Upon the death of his fatho-, his
principality was annexed, and his brothers poisoned. In
1443 he seized Kroia, proclaimed himself a Christian, and
became the leader of a band of wild Albanian clansmen. For
nearly twenty-five years he waged a guerilla warfare against
the Turks, winning easy victories over the armies sent against
him, and, according to tradition, slaying thiee thousand Turks
with his own hand. His resistance to the Turkish advance
was of great service to the cause of Christianity. See Encyc.
Brit. For more detailed information see Moore, George Cos-
n,g,i,7cd by Google
Explattaiory Notes Z91
triot; Shute, Warres of Turkes against George Scanderbeg {Two
very Notable Commentaries . . . trandated from Italian) ; Pe-
bovitch, Scander-beg ; Pisko, Scattderbeg, historische Stttdie.
Wheatley quotes the end of Spenser's sonnet on Shute's
translation.
The scourge of Turkes, and plague of in&deb,
Thy acts, O Scanderbeg, this volume tds,
I. 3. 29. mjr D^. galdins. This abbreviation £>l the word
masters which appears in Q seems unfortunate. Note that
the edition of 1716 emends it incorrectly to mistress's.
I. 3. 32. a fine wiipe of liar, todIA baid. This line, not
found in Q, gives Jonson opportunity to reveal somethmg of
the customs of England. Cf, Tale of a Tub i. 2, p. 132 :
Che lighted I but now in the yard.
Puppy has scarce unswaddled my 1^ yet.
Twfe. What, wisps on yom- wedding-day, zon I
1.3.34. it'snolMOtetolcdlowbim. See ftoofa in Glossary.
It would be useless to comment upon all the puns found in
this play. GifKord remarks at this point : 'It may tend, per-
haps, to humble the j^de of those who [dume themselves on
their dexterity in this notable art, to observe that Master
Stephen is by far the most successful of the party, in his
attempts.'
1.3.35. lielpetotnusenie,aIlttle. Sec frwss« in Glossary.
' When the hose were made to answer the double purpose of
breeches and stockings they were usually fitted very close to
the limbs, and fastened ... to the doublet, with laces called
paints from their having points or tags, at the end.' — Strutt,
Dress and Habits of the People of England i. 338. Wheatley
cites the two following illustrations of the fact that it was
regarded as a menial task to truss one : Ant. and Cleo. 3, 13.
157 : 'To flatter Ctesar, would you mingle eyes With one that
ties his points' (quoted incorrectly in Wheatley) ; Davies,
Dram. Misc. 2.354: 'When Mr. Hyde, afterwards Earl of
Clarendon, . . . waited upon Charles I. at Hampton-Court,
the King said to him, " So, Ned Hyde, they say you tie my
points I"'
n,g,i,7cd by Google
292 'Every Man in his Humour
Q 1.2.40. be Bfood vpoa poynts with me too. Up<m
points seems to be used here in the obsolete sense of on peril,
on penalty. See NED. It is punned upon, in the following
line, by points in the sense of strings for hose. Note that
F has condensed at this place, and that the passage gams in
animation of tone, as a result. Cf. Every Man Out 4. 5,
p. 149 : 'You lack points to bring your apparel together, sir.
Fung. Ill have points anon.'
1. 3. 43. bat fht woollen stocking do's not commend it so
WelL Cf. Taylor. The Hog Hath Lost his Pearl (HazUtt's
Dodsley 11. 432) : ' Good parts, without habihments of gallan-
try, are no more set by in these times than a good 1^ in a
woollen slocking' (quoted by Wheatley).
I. 3. 47. tbet I KOe to dwell i' the towne. That is equi-
valent here to when. Cf. Abbott, § 284, and Franz, § 553.
Cf . Gen. 2.17: ■ In the day that thou eatest thereof ' ; M.N.
Dream 4. 1. 138 : 'Is not this the day That Hermia should
give answer of her choice ? '
1.3.48. my legge would abew io a silbe^iose. SeesAoftn
Glossary. Cf. Every Man Out 2. 1, p. 46: 'He would shew
well upon a haber-dasher's stall.' Abbott, § 293. cites shoa
as one of the transitive verbs which are used intransitively
in Shakespeare. Cf. Franz, § 629.
I. 3. 48. Bilke-hose. Howes, in his continuation of Stow's
Chronicle of England, p. 867, asserts that in the second year
of Queen Elizabeth's reign she was presented by her silk-
woman. Mistress Montague, with a pair of silk hose, which
were the first made in England. He assures us that Henry
VIII always wore doth hose, and that Edward VI received "
a fine pair of Spanish silk stockings. Strutt, however, in
his Dress and Habits of England i, 264—5, quotes from an
inventory of Henry VIII's costume in the British Museum,
which speaks of silk hose worn by that monarch. It is well
established that this article of dress became rapidly popular.
Stubbes, in The Anatomy of Abuses, 1383, pp.56— 7, writes:
' In times past. Kings (as olde Histriographers in their Bookes
yet extant doe recorde) would not disdaine to weare a paire
of hosen of a Noble, tenne Shillinges, or a Marke price, with
n,g,i,7cd by Google
Explanatory Notes 293 ■
aU the rest of theii apparel after the same rate ; but now it is
a small matter to bestowe twentie nobles, ten pound, twentie
pound, fortie pound, yea a hundred pound of one paire of
Breeches. {God be mercifuU unto us!) . . . Then haue they
nether-stocks to these gay hosen. . . . And to such insolency
& outrage it is now growen, that everyone (almost) though
otherwise vole poor, hauing scarce fortie shillings of wages
by the yeer, wil be sure to haue two or three paire of these
silk nether-stocks, or els of the finest yame that may be got
though the ptice of them be a Ryall or twentie shillinges or
more, as commonly it is. . . . The time hath beene when one
might haue clothed all his body well for lesse then a paire of
these nethei-stocks wil cost.' Master Stephen evidently
r^ards silk hose as a necessary part of the costume of a
denizen of the city. Cf, Epic. 3. i, p. 381 : 'Your four paire
of stockings, one silk, three worsted.'
1.3-30. Kasadnesse. See Glossary. Cf. Case is AU. 4. 5,
p. 375 : 'But in good sadness, signior' ; Dekker, Shoemah.
Hoi. {Wks. 1. 59) : 'Canst thou in sadnesse ?'
Q I. 2. 54. I haofl a little haste in, sii. This Hale haste
becomes intelligible when, in F, we learn that Brainworm can
not remain longer to praise the leg of Stephen. In a similar
way, the following line in F — 'Another time wil seme, Brayne-
worme. Gramercie for this ' — gives a more apt turn to the
conversation than the mere, 'A thousand thankes, good
Musco,' of Q.
1.3.60. Here was a letter, indeede, etc. This speech
shows a number of alterations for the better over the coixe-
spooding one in Q. The first sentence of F is, in every way,
simpler and clearer than that of Q. The rather questionable
figure of breaking the shins of an old man's patience, is
judiciously eliminated in the revised version. The intro-
duction of the printer, John Trundle, is a good local touch.
The somewhat meaningless, 'now, Fortune, or neuer Fortune,'
of Q, is advantageously revised to, 'Fortune, if euer thoult
vse thine eyes, I intreate thee.'
1.3-63. Costar' -monger. See Glossary. This spelling, as
Wheatiey suggests, shows the e^roology of the word aater-
n,g,i,7cd by Google
394 Euery Man in Ms Humour
monger (costard and monger). C(. Epic. 1. 1, p. 342: 'He
cannot endure a costard-monger, he swoons if he beat one.'
See also Nares, Glossary r. 194: ' Costermongers were usually
noisy, whence old Morose in Epicane is said to swoon at the
voice of one. Their bawling was proverbial :
And then he'll rail, like a rude costermonger.
That school-boys had cozen 'd of his apples.
As loud and senseless. — B.& Fl., Scomf. Lady 4. i. 79-80.'
See also Knight, London 1. 134—5.
I. 3. 65. troU ballads. An itinerant singer or voider of
ballads was looked down upon at this time. Thus NED. de-
fines balladmonger as 'one who deals in ballads: used con-
temptuously by Shakespere, and by others in imitation.'
Cf. I Hen. IV 3. 1. 129: 'I had rather be a kitten, and ary
mew Than one of these same metre ballad-mongers.' Cf.
Every Man In 4. 2. 121, 4. 3. 15 S. Whalley cites the two
following quotations illustrating the word troll : Tempest
3. 2. 126 : 'Will you troll the catdi You taught me but whik-
ere ' ; Milton, P. L. 11. 620 : 'To dress, and troll the tongue,
and roll the eye,' Q reads sing instead of IroU ; the latter
indicated a more vivacious style of singing. See Glossary.
1.3.65. lohnTrvndle. la the Stationers' Register {2. 720)
there occurs the following entry for October 29, 1597 : ' John
Trundell swome and admitted a h'eman of this Companye.'
His first entry was made in 1603, and between that and ttie
year 1626 he made thirty-nine. 'With respect to master
John Trundle, he was a printer, who lived at the sign of the
"Nobody" (a very humble designation) in Barbican. It
appears, however, that he dealt in something better than
ballads, having pubhshed Green's Tu Quoque, Westward for
Smdts, and other fugutive and popular pieces of the day.' — G.
He printed the first quarto of Hamla in 1603. ' Gifford says
that he lived at the signbf "Nobody" in the Barbican, but
about the year 1620 he printed The brave EnglishGipsy "at
his shop neere the Hospital Gate in Smithfield."' — ^Wh.
1.3.80. How now, ooDSsen Stephen, melanoholy'. F ex-
pands and changes the subject of the conversation here up to
n,g,i,7cd by Google
Explanatory Notes 295
line 93. The introduction of Stephen's humor of melancholy,
and the quibble as to whether Young Knowell laughed at
hOTi or not, gives more point to the talk here than is found in
Stephen's inquiries after young Knowell's health in Q.
I. 3. 81. I thought, yoQ had laosht at me. Tobelai^hed
at seems to have been regarded as a particular insult by
persons in Stephen's class. Cf. Case Is Alt. 5. 2, p. 383 : 'Jtrn.
Do you laugh at me, do you laugh at me, do you laugh at me ? '
I- 3- 85. By this li^t. 'This was an expression in great
favour with the dramatists. Presumably it is a further deve-
lopment of (God's light),' "slight," or "this" may have been
put in the place of "his." Similar phrases are 'by this day'
and 'by this fire." '— Swaen, Figures of Imprecation {Engl.
Slud. 24. 229). Cf. Every Man /« 4. i. 8 ; Alch. 3. 2, p. 108 :
'By this good hght, I have notfamg'; Epic. 3. i, p. 380: 'By
that light, I'll have you chain'd up,' etc.
I. 3. 97. I protest, it is not to draw yon into bond, etc.
This change from Q here serves to enhance the simplicity of
Stephen's character.
I. 3. 100. Kcne-gate. Stow thus describes this postern in
his Survey of London {1633), p- 33 : 'Touching the next Post-
eme, called Mooregale, I finde, that'TAomas Falconer, Haior
about the year 1415. the third of Henry the 5. caused the
Wall of the Citie to be broken neere unto Colemanstreet, and
there builded a Posteme now called Mooregaie, upon the
Hporeside, where was never gate before. This Gale he made
fOT ease of the Citizens, that way to pass upon Cawseys into
the Field for their recreation : for the same field was at that
time a Marish. This Posteme was reedified by William
Hampton, Fishmonger, Maior, in the yeere 1472. In the
yeere also 1511. the third of Hen. 8. Roger Achely Maior,
caused Dikes and Bridges to be made, and the ground to be
levelled, and made more commodious for passage ; since which
time the same hath been heightned so mach, that the Dikes
and Bridges are covered : and it seemeth to me, that if it
be made levell with the Battlements of the City Wall, yet
will it be little the dryer, such was then the moorish nature
erf that ground.' We learn in Wheatley and Cunningham's
n,g,i,7c.dbyG00'^lc
296 Euery Man in his Humour
London Past and Present (2. 563) that it was rebuUt in 1672,
and described in 1761 as 'one of the most magnificent gates
oi the City." Hentzner alludes to it in his Journey into
England, p. 8.
I. 3. 107. Hay, not lo neither. The double negative is
frequently found in Elizabethan English. Cf. Abbott, § 406,
and Franz, g 410.
I. 3. tio. A gentleman ol jroni Mwt, parts, cairiage, etc.
This passage affords a good illustration of Jonsoo's method
of revision. The first long, loose, and bungling sentence of
Q is improved in a variety of ways. It is rearranged to
advantage, and the information is maishaled in a more
efficient manner. The substitution of the pronoun your
before sort renders unnecessary the three words 05 you are
in Q. The omission of the adjectives qualifying sort, parts,
carriage, and estimation, strengthens the sentence in F, and
makes it less tedious. The expansion of the clause one whose
lowest condition beares the stampe ol a great spirit makes it
more in keeping with the geneial vein of young Knowell's
discourse. Jonson sho^nra good taste, too, in eliminating^ from
a passage already sufficiently filled with figurative expressions
the parenthetical one in Q in which Stephen is warned that
he has a tendency toward a leaden constitution, and hence
is in danger of melting when he falls into the fire of rage.
The introduction of the allusion to the tankard-bearer is one
of the many local touchy which make the play characteristic-
ally EngU^.
1. 3. 112, like a tankaid-bearer, at a oaidait. Originally
conduits fonned the only source of water-supply for London.
■ The sweet water is i^eserved in various parts of the city in
large well-built stone cisterns, to be drawn off by cocks ; and
the poor labouros carry it on their shoulders to the different
houses and sell it, in a peculiar kind of wooden vessek, broad
at the bottom, but very narrow at the top and bound witii
iron hoops.' — 1592 : Frederick Duke of Wiirtemberg (Rye's
England as seen by Foreigners, p. 8). Rye adds the foltewing
note to the passage : 'The inhabitants had at this time no
other means of procuring water than by fetching it from the
n,g,i,7c.dbyG00'^lc
Explanatory Notes 297
conduits, or paying men who made it their business to bting
it from thence in vessels called tankards, which hold about
three gallons. One of these tankards is reftte^ented in Hoef-
nogel's curious view of Nonesach, dated 1582. The water
carriers then constituted a large class, and seem to have
formed a rathn unruly part of the population. They were
commonly called ' ' Cobs. ' ' ' ■ Famihar sights in London streets
were the conduits of water flowing at the junction of thorough-
fares, the water carriers or "cobs" with their casks of water,
selling to those who preferred not to go to the conduit for it.' —
Traill, Soc. Eng. 3. 575. A considerable number of references
to the conduits of London may be found in Stow's Survey
1. 17—19, etc. See Wheatley's note on water-bearer. Cf.
' Epic. (ed. Henry) 3. 5. 24, and note, p. 207 : 'You might as
well ha' told it the conduit.'
J. 3. 117. pewter. 'Confined at first to the morewealthy
classes, we can trace as time-goes on its extension lower and
lower in the social scale, until at the end of the 17th century
its use was almost universal.' — ^Bell, Ency. Brit. 21.339.
'In England at the beginning of the sixteenth century,
pewter, according to the Northumberland household book,
was still considered too expensive to be common.' — Bell,
Old Pewter, p. 72. 'For so common were all sorts of treene
stufie in old time, that a man should hardlie find four pieces
of pewter (of which one was peradventure a salt) in a good
farmers house , . . . whereas in my time . . . will the farmer
. . . tbinke his gaioes verie small toward the end of his terme,
if he haue not six or seuen yeares rent lieng by bun, therewith
to purchase a new lease, beside a faire garnish of pewter on
his cupbord, ... a silver salt, a bowle for wine (if not an whole
neast) and a dozzen of spoones to furnish vp the snte.' — Harri-
son, Description 0/ England, 1587, i. 240— i. 'Fill all the
pottes in your house yith all sorts of hcour, and let 'hem
waite on us here like souldiers in their pewter coates.' —
Eastward Ho (ed. Schelling)3.3.9. ' Tinne and pewter Are more
esteemed than Latine.' — Nash, Pierce Peniless (Wks. 1. 182).
1. 3. 121. Millaneis wile. See miltaner in Glossary. Wint.
Tale 4. 4. 192 : ' No milliner can so fit his customers with
by Google
298 Euety Man in his Humour
gloves ' ; Minsheu, Ductor 5620 : ' An Haberdasher of small
wares .... In London also called a Hillcnier, & Lat. milk.
i. e. a thousand, as one hauing a thousand small wares to sdl '
(See NED.). 'Isaac Walton folbwed the trade of a miUmer
when he kept his shop in Fleet Street,' — Wh,
I. 3. 122. wron^t stomadur. The stomacher, or jdacard.
as it was sometimes called, was an article of dress worn origi-
nally by both sexes. Half a yard bt material was necessary
for making it in either case. It was used with the gown, as
well as the coat and jacket. The doublet and bodice were
sometimes laced over it. It was often richly embroidered,
and decorated with precious stones ; this was particolaily
true in the age of Elizabeth. See Fairholt, Costume inEnf-
land 2. 386 ; Stnitt, Dress and flabits of England 1. 360 :
Planch^, Cyda. of Costume i. 487.
I. 3. 122. tmotda lawoe. 'And after a while they made
them ruffles of Lawn, which was at that time {1554) ^ stufle
most strange, and wonderfuU, and thereupon rose a generall
scoffe or by-word, that shortly they would make Ruffles, of
a spiders web.' — Stow, Chronicle of England (ed. Howe),
p. 868. 'The women there vse great rufies, & neck^cfaos
of holland, lawne, canterick, and such cloth, as the greatest
thred shall not be so bigge as the least haire that is.' — Stnbbes,
Anatomy of Abuses, p. 70.
I. 3. 122. bladi crptesae. See Glossary. Wheatley says
there is no authority for the conjecture that this material
came from the island of Cyprus, and derived its name theoce.
To faint it Cyprus, then, as Whalley, Gifiord, and modem
editions of Shakespeare do, is wrong, 'The word cypres (also
spelt sipers) was used to express a large number of matoials,
some white and some black, but it chiefly rei^esented what
we now call crape. This latter word apparently was not intro-
duced into English from the French until the i8th century —
If this material came originally from the island of Cj^pnis,
there should be some history of the manufacture there ; but
as nothing has been brought forward connecting the stuff
with the place, I would throw out the suggestion that the
name is derived from the plant Cyperus textUis, which is still
by Google
Explanatory Notes 299
used for the making of ropes and matting.' He closes the
note with a conjecture that cyperus was also used for finer
fabrics, since Baret defined it as a sail of a ship in 1580 ; with
evidence that cyperus became naturalized in English as cypres ;
and with a reference to Cotgrave (1611] where cypere is de-
fined as cyperus or cypresse. NED. , however, gives the follow-
ing derivation : ' Prob. f. OF. Cipre, Cypre, the island of
Cyprus, from which, in and after the Crusading times, various
fatHics were brought.'
1. 3. 124. Drakes old ship, at Dettoid. 'And in the yeere
next following, to wit 1581, on the 4 of April, her Maiestie
dining at Deepeford in Kent, after dinner entred the ship
which Captaine Drake had so faapily guided round about the
workt, . . . and there shee did make Captain Drake Knight,
in the same ship, for reward of his service, his armes were
given him, the world in a ship, which ship by her Haiesties
commandement is lodged in a docke at Depford, for a monu-
ment to all posterity of that famous and worthy exploit.' —
Stov.Cltromcle 0/ England {fd. Howe, 1631), p. 688. 'Upon
taking the air down the river, the first thing that struck us,
was the ship of that noble pirate. Sir Francis Drake, in which
he is said to have surrounded this globe of earth.' — Hentzner,
Journey into England, p. 46, 1598. 'As the great ship, in
whkJi the rawwned English Captain Drake (Drack), as is
commonly reported, sailed round the world and had lately
returned from the island of Dominica, was at this time re-
pairing on shore and refitting, his Highness went on board to
inspect it ; it is jndeed a very large and strongly built ship, of
several hundred lasts, exceeding fit to undertake so protracted
and dangerous a voyage, and well able to bear much buffet-
ting ; the cabins and armouries are in fine order, as in a well-
built castle; in the middle, where the largest cannon are placed,
it is eighteen good paces wide ; what its length must be in
IHX>portion may be easily judged.' — Frederick, Duke of Wflrt-
emberg, Journal, 1542, in Rye, England as seen by Foreigners.
p. 49. See Wheatky's note on this passage.
1. 3. 127. the Idea. See Glossary. Wheatley cites the
following illustrative quotations : 'Idea is perhaps the worst
n,g,i,7cd by Google
3(X> Emry Man in his Hitmour
treated word ia the Ei^lisb language. Matters have not
mended since the times of Dr. Johnson, who, as Boswell telk
us, "was particularly indignant against the almost tmiversal
use of the word idea in the sense of notion or opinion, when it
is dear that idea can only signify something of which an image
can be formed in the mind."' — Trench, English. Past and
Present, p. 285 (1871).
' Her sweet idea wandered through his thoughts. ' — ^Fairfax.
I did infer your lineaments,
Being the right idea of your father.
Both in your form and nobleness of mind.
Richard III 3. 7. 12.
I. 3. 128. phymomie. See Glossary. Nares, in his Gios-
sary. calls this a corrupt contraction of physiognomy, but
Dyce {Glossary to Shakespeare) says it was a common om)-
traction, and not regarded as a vulgarism. Cf. Cotgrave:
' Metascopie, mine, le traict du visage. Phisnomie or phiaog-
nomie of mans face.' Nares cites die following ilhistratioiis :
All's Well 4. 5. 41 : ' Faith, sir, a' has an English name, but
his fisnomy is more hotter in France than there ; ' Mirr. for
Mag. (ed. Hazlewood, p. 794) :
Who both in favour, and in princely looke.
As weU as in the mino's true qualitie.
Doth represent his father's physnomie.
Shirley, Sisters (ed. 1833) 1. 1, p. 360 :' I will examine all your
phlsnomies . ' The word appears to be in good repute in all tiiese
instances. Jonson does not conform to his usual {Hractice here
of substituting a simpler word for a hard^ one, when be
replaces lookes of Q by physnomy of F.
1.3-137. nibtizbe-biimor. Whalley explains this as a low
humour, not tinctured with urbanity, and fitted to the tastes
of the inferior people who usually reside in the submbs.
Wheatley's supposition that KnowcU here merely intends
to match the country gull against the city gull seems more
reasonable.
1. 4. 1. I thin^ this be the house. Be is used with an
idea of doubt, question, etc. after verbs of thinking ; cf. Ab-
bott, 5 299, and Franz, § 171.
n,g,i,7cd by Google
Explanatory Notes 301
I. 4. 13. Herring the Sing ol tiill. The story of how the
berrmg came to be king of fish is, as Gifioid points out, fully
related in Nash's Lenten Stuffe 3. 201 ff. A hawk broke loose
from a falconer on shipboard, flew down to the water in quest
of game, and made for a speckled fish which was playing above
the water. A shark lay near at hand, gaping for the flying
fish, and devoured her, bells and all, at a mouthfull. The
news of this murderous act was carried by the kingfisher to
the ears of the land-fowls. Great indignation arose, and it
was planned to revenge themselves for the trespass of blood
and death conunitted against a peer'of their blood royal.
Preparation was made, the muster taken, and the leaders
allotted. An old goshawk was appointed general, and a
sparrowhawk marshal of the field. The puffin, which is bajf
bird and half fish, betrayed this conspiracy to the fraternity
of fishes. The greater sea-giants, such as the whale, the sea-
horse, and the dolphin, fieered and jeered at it as a ridiculous
danger, ' but the lesser pigmeis & spawne of them thought it
meete to prouide for themselves betime, and elect a king
amongst them that might deraine them to battaile, and vnder
whose colours they might march against these biides of a
feather, that had so colleagued themselves togither to destroy
them. Who this king should bee, beshackled theyr wits, and
layd them a dry ground euery one. No rauening fish they
would putte in armes, for feare after hee had euerted their
foes, and flesht himself in bloud, for interchange of diet, hee
woulde rauen vp them. . . . None woonne the day in this but
the Herring, whom al their clamorous suffrages saluted with
Vive le toy, God saue the King, God saue the King, saue only
the Playse and the Butte, that made wry mouthes at him, and
for their mocking haue wry mouthes euer since, and the
Herring euer since weares a coronet on his head, in token that
hee is &<= he is.'
I. 4. 15. red hsrring. See Nash's characterization of the
red herring, LerOxn Stuffe 3. 191 : 'But to thinke on a red
Herring, such a hot stirring meate it is, is enough to make the
crauenest dastard prodaime fire and sword against Spaine.
The most intenerate Viigine wax phisnomy, that taints his
U
n,g,i,7cd by Google
303 Entry Man in his Humow
thioate with the least ribbe of it, it will embrawne and InHi
crust his flesh, and harden bis soft bleding vames as stifle and
robustious as branches of Corrall. The art of kindling of fires
that is practised in the smoking or parching of him is old dog
against the plague.'
1. 4. 16. br the Hsrtob bookei. See hanot in Glossary.
One of the duties of the herakl was to record pedigrees.
Francis Thynne, who was Lancaster herald from 1602 to 1608,
and whom Camden described as 'an excellent antiquary, and
a gentleman painful and well-deserving his office while he
lived,' alludes to this custom, in describing the duties of the
Kings of arms; 'First, as nigh as he cann, bee shall take
knowledge, and recorde the Armes, Crests, and Cognizaunces,
and auncient wordes ; as alsoe of the Lyne and Descent, 01
Pedegree of every Gentleman within his Province of what
estate or degree so ever he bee.' — Nason, Heralds and Heraldry
in Jensen's Plays, p. 64. 'Equally important with tiiar
jurisdiction over the bearing of coat armour was the duty of
the heralds to record the pedigrees of all p^sons of gentle or
of noble blood. The two provincial kings of arms, Clarencieux
and Norroy, were supposed to make official "Visitaticns"
at convenient intervals to each country within their respectiTe
[Movinces. On these occasions, the king at arms or his de-
puty summoned all the gentlemen of the county to appear
before him, and to bring their arms and pedigree to be le-
corded.' — Ibid., p. 68. A further bibliography on this point
may be found in Nason 's book. References to heraldry, and
satire upon its abuse, are not infrequent in Jonson : Every
Man Out 1. 1, p. 36 : 'MacilenU. Torment and death I . . .
these mushroom gentlemen. That shoot up in a night to place
and worship ';t&iij. 3. i, p. 96: 'By this parchment, gentlemen,
I have been so toiled among the harrots yonder, you will not
believe I they do speak in the strangest language, and give a
man the hardest terms for his money, that ever you knew' ;
ibid. 3. 1, p. 97 : ' Car. Ay, and rampant too I troth, I commend
the herald's wit, he has decyphercd him well: a swine without
a head, without brain, wit, anything indeed, ramping to genti-
lity ' ; Case is Alt. 4. 4. p. 371 : ' . . . Some harrot of arms, he
n,g,i,7cd by Google
Explanatory Notes 303
shall give us a gudgeon' ; New Inn 1. 1, p. 313: 'Ay, that was
when the nursery's self was noble. And only virtue made it,
not the market. That titles were not vented at the drum. Or
common out-cry'; ibid. 2.2, p. 342: 'Host. An antiquity,
By the dress, you'd swear I an old Welsh herald's widow : . . .
She's perfect in most pedigrees, most descents' ; Stap. of News
4.1, p. 268 ff: '. . . Do not I love a herald,
Who is the pure preserver of descents.
The keeper fair of all nobility,
Without which all would run into confusion ?
Were he a learned herald, I would tell him
He can give arms and marks, he cannot honour ;
No more than mon^ can make noble : it may
Give place, and rank, but it can give no virtue.'
I. 4. 17. His Cob. See Glossary. Wheatley quotes the
following from Nash, Lenten Stuffe 3. 211 : 'One of the curio-
sest curtizans of Rome, when the fame of the King of fishes
was canon-Tored in her eares, shee sent all hir iewells to the
Jewish lumbarde to pawne, to buy and encaptiue him to her
trenchour, but her perueyour came a day after the f aire, and
as be came, so hee farde, for not a scrap of him but the cobs
of the two Herrings the Fishermen had eaten remained of him,
and those Cobbes, rather than hee woulde go home wyth a
sleeuelesse answer, he bought at the rate of foure score ducats :
(they were rich cobbes you must rate them ; and of them aQ
cobbing countrey chuffes which make their bellies and their
bagges theyr Gods are called riche Cobbes).' Cf. also : Nash,
Unf. Trav. {Wks. 2, 209) : 'Lord high regent of rashers of the
coles and red herring cobs' ; Dekker, 2 Honest Wk. {Wks. 2.
147) : "Hecan come bragging hitherwith foure white Herrings
(at's taile), . . . but I may starue ere he give me so much as
a cob.'
I. 4. 17. great^ieat-m«ht7-great Qrand-lather. Cf. note
on wkat-sha'-cail-him doublet, 1. 3. 15.
1. 4. 30. Roger Bacon. Bacon was a philosopher, born at
oc near Ilchester, Somersetshire, about 1214. About his
name many early traditions gathered, for which there is no
satisfactory foundation. An incomplete summary of the
by Google
304 Euery Man in his Bumour
older material is furnished by Anthony Wood, a more criticai
survey in Jebb's preface to hts edition of the Opus Majta ;
the latest researches are to be found in the worla of Biewa
and Charles. Bacon early manifested an interest in Arab
writers, languages, and expoimental researches partly in
alchemy, partly in optics. At some unknown time he be-
came a Franciscan friar. The suspicion of the Frandscas
superiors it was which had him put under surveillance, and in
1257 sect him to Paris, where he was kept in close confinement
tw ten years, and denied all opportunities of writing. After
1267 he was in comparative freedom, and devoted tiifHfiffH
to working out, in special writings, the particular sciences
which he conceived as constituting the body of knowledge.
His writings fall into two groups-thosein print, and those in
manuscript. An accurate list of the former is given by J. V.
Le Clerc in the Htsloire Lift, de la Franu. 'Not till the
eighteenth century was it known, nor from the scanty refe-
rences in the older authorities could it have been gathered,
that Bacon was more than an ingenious atchemist, a skilled
mechanician, and perhaps a dabbler in the black acts. In
this light tradition viewed him, and it is bis l^endary history
only that has established itself in English literature. The
famous necromancer. Friar Bacon, with his brazen head, is no
nnfamiliar figure in popular English writing. The publication
of the Opus Majus, however, rendered possible a more ac-
curate conception of his aims and labours, and made it evident
that the main interest of his life had been a struggle towards
reform in the existing methods of philosophical or scientific
thinking — a reform which in spirit and aim strikingly res-
embled that more successfully attempted by his more famous
namesake in the seventeentii century.' He died probably
in 1294, and was buried in Oxford. — See DNB. 2. 3740.
Wheatley points out that Cob is wrong in stating that
Bacon was broiled. Cf. Tale of a Tub 4. 5. p. 203 : ' O for
a cross I a collop Of Friar Bacon, or a conjuring stick Of
doctor Faustus.
1. 4- 34- Ciiut Uun ihew ma ol a geoUMnan. 'After
transitive vbs., the secondary or thing object is often intro-
n,g,i,7cd by Google
Explaiuitory Notes 305
duced by of representing an original genitive.' — NED. Cf.
Latimer, Serm. & Rem., p. 174: 'He came . . . desiring him
ol help'; Spenser, F. Q. 2.9.42: 'Of pardon I you pray.'
I. 4. 52. he oe'ra oait better. This is a play on casting
dice and vomiting. See Nares' Glossary. He cites the follow-
ing iUustrations : Poti. i. i, p. 374: 'These vei'ses too, a
poison on 'em t I cannot abide them, they make me ready
to cast, by the banks of Helicon ' ; Beau, and Flet., Span.
Cur. 4. 7. 470: 'Let him cast till his maw come up; we
care not.'
1.4.56. hee nraUow'd a taiieni»-token. 'Throughout the
seventeenth century, and indeed for upwards of a century
later, there was a most inconvenient shortage in the copper
coins and oth^ small change in circulation in this country ;
and to overcome this deficiency authority was given to traders
and others to coin their own pennies, halfpennies, and farth-
ings for the facilitating of business transactions. These trade
tokens, as they were called, became legal currency as "pro-
■ mises to pay ; " and the circulation of them in all parts of the
country grew to enormous proportions. They were issued by
business corporations and traders of all sorts, and among them
not a few innkeepers of the better class. Those of the last
named were generally brass farthings, and always bore the
sign of the inn from which they emanated and at which they
were redeemable in the current coin of the realm.' — Hack-
wood,/tt»s. Ales, and Drinking Customs of Old England, p. 274.
'Trade tokens were issued at the "Mermaid" in Cheapside,
the resort of Jonson and his literary friends.' — Ibid, p. 277.
>Vheatley and Cunningham, in London Past and Present
2. 173, in describing the Guildhall Library and Museum,
comment as follows upon the collection of tokens there: 'Of
later date are a large collection of mediaeval pilgrims ' tokens,
and the fine Beaufoy collection of tavern and tradesmoi^
tokens.' G. B. Davis, in his comprehensive catalogue of coins,
medals, and tokens, further ill^trates the subject. See also '
TraiU, Socio/ England 3. 324. The meaning in the present
Une is, of course, that Bobadill drank as much liquor as a
tavein-token would purchase.
n,g,i,7cd by Google
306 Euery Man in hie Humour
1.4. 59. It'i size a docke. 'It shows the early hooisof
OUT ancestors, that a moniing call should be made at sacb a
time, and further on (i. 5. 26), BobadiU excuses himself i<x
having risen so late tiiat he bad had a short night.'— Wh.
Qut cf. Gull's Horn Book, Chap. 2 : 'Besides, by the opinion
of all philosophers and physicians, it is not good to trust tiie
air with our bodies till the smi with his flame-coloured wiogs
hath fanned away the misty smoke of the morning, and re-
fined that thick tobacco-breath which the rheumatic night
throws abroad of purpose to put out the eye of the element :
which work questionless cannot be peifectly finished, till the
sun's car-horses stand piancing on the very top of highest
noon ; so that then, and not till then, is the most healthful
hour to be stirring'; Thombury, Shakespeare's England i.
105 : 'The rose of fashion, in the days of cloak and dagger,
seldom rose before he had heard it at least ring noon from
Paul's or Bow.'
For the expression a docke instead of o' docke see Abbott,
§§ 24 and 140, and Franz, § 238.
I. 4. 61. A gentleman ol lua hanings. Havings takes the
place of note in Q. It seems to have been a common word
with Shakespeare and his contemporaries. Cf. the following
instances: Merry Wives 3.2.73: 'The gentlemen is of no
having'; 'Henty VJII 3.2.159: 'But pared my present
havings to bestow My bounties upon you'; Brome, Novdla
(Wks. 1. 114) ; 'Looke to my house and havings ; keepe all
safe'; Muses' Looking Glass (0. PL 9.206): 'One of your
havings, and yet cark and care'; Dw. is an Ass 3.1,
p. 80: 'A man of means and havings'; Cynih. Rev. 5.2.
p. 316: 'A gentleman of so pleasing and ridiculous a carriage,
... of goodly havings.'
I. 4. 64. an' my house were the Braaen-hsftd now. This
passage, as Wheatley points out, is reminiscent of the old
romance, The Famous Historie of Frier Bacon, and of Greene's
play. Friar Bacon and Friar Bungay. The fonner, in the
chapter entitled 'How Fryer Bacon made a Brasen head to
speake, by the which bee would have walled England about
with Brasse,' recounts the following story: Friar Bacon,
n,g,i,7cd by Google
Explanatory Notes 307
reading one day of the many conquests of England, tried to
tbiiik how he might keep it from similar attacks in the future.
He finally hit upon the plan of building a great head of brass
which should be endowed with the power of speech, so that
upon a warning from it, he could wall all England about with
tvass. Accordingly, he sought the aid of Friar Bungay, a
great scholar and magician. Together they erected the huge
brazen head, equipped within with all parts, a^ in a natural
man's head. To these, however, they were unable to impart
motion. Books availed them not in this attempt, and they
at last besought the aid of a devil, whom they raised from the
world of spirits by words of conjuration. After being threat-
ened, the devil provided them with six simples, the fume
of which had power, within a month's time, to endow the
brazen bead with speech. He was unable to predict the
exact day of the miracle, and warned them that if they failed
to bear uid heed the first utterance, all their labor would be
lost. They prepared the simples and be^an tbeir watch.
After a weary three weeks' vigil without any rest, they were
forced by exhaustion to seek sleep. Mil^, Friar Bacon's
man, was left in charge in their stead, with strict injunctions
to notify them at once if the head spoke. Miles promised,
and the friars retired. After a half hour the head uttered the
words 'Time is.' These seemed so insignificant to Miles that
he mocked the head, and did not waken the friars. At the
end of another half hour, the head spoke a second time witii
the words 'Time was.' These words were also di^^arded by
Miles. Finally, after a third half-hour had passed, the head
said once more, 'Time is past.' This time there was a great
roar, accompanied with flashes of fire, and the head fell down
and was broken in pieces. The noise awakened the friars,
who rushed in, and discovered Miles' perfidy and the frust-
ration of their plans. This story is an episode in
Greene's play. Ward, in the introduction to his edition of
Dr. FausOts and Friar Bacon and Friar Bungay, pp. 108—128,
discusses the literary history of the latter story.
1. 4. 75. hee will 9it tod a iriiole atter-noone some-tiiiut.
nadfnc 0' these same abomliiable, vile, . . . rascally nnes.
■n,g,i,7cd by Google
3o8 Every Man in kis Humow
Cf . Every Man Out 3. i, p. 89 : 'The other mxi^eiit. Clove,
is a more spiced youth ; he will sit you a whole afternoon some-
times in a bookseller's shop, reading the Greek, Italian.
Spanish, when he understands not a word of either.' Yon is
an ethical dative here. See Abbott, § zzo, Franz, % 294,
and Maetzner, Englische Granunatik 2. 227. Cf . Epic. 3. i,
p. 386: '. ..Clap me a clean towel about you, like a sewer';
Tarn, of the Skr. I. 2. 8 :
Pet. Villain, I say, knock me here soundly.
Gru. Knock you here, sir I Why, sir, what am I, sir,
that 1 should knock you here, sir ?
Pet. Villain, I say, knock me at this gate
And rap me-well.
1. 4. 84. he do> nvMre the bgibleit, of anj man chriitned.
This misuse of the word legible is p^bably, as Wheatley
suggests, merely one of Cob's 'malapropisms.' This passage
suggests Hedon and his oaths in Cynlh. Rev. 2. i, p. 240:
' Hed. I have devised one or two of the prettiest oaths, this
morning in my bed, as ever thou heard'st, to protest withal
in the presence. ... (p. 243} 'Mer. He [Hedon] will blasf^eme
tin his shirt. The oaths which he vomits at one supper
would maintain a town of garrison in good swearing a twelve-
month.'
1. 4. 85. by 8". Oeorge. St. George was the patron saint
of England, a historical figure about whom many traditions
have clustered. Richard Johnson, in his History 0/ the Seven
Champions of Christendom, records the legendary history of
St. George. One reads here of his miraculous birth, of his
being stolen as a babe, of his slaying the burning dragon in
Egypt, of his betrayal by the bFack King of Morocco, of his
seven years' imprisonment in Persia, of his escape, of his
valorous and magnanimous deeds in many lands, and of hb
death from the venomous sting of a serpent.
Budge has edited and translated the Coptic texts relating
to the Martyrdom and Miracles of Saint George of Cappadoda.
This account is very different from the traditional one des-
cribed above. It recounts the terrible tortures irflicted upon
St. George 1^ the governor of Cappadocia, and tells of his
n,g,i,7cd by Google
Explanatory Notes 309
patience throughout, of the comfort bestowed upon him by
the Lord during his trials, of the nine miracles which he
p^ormed, and finally, of the encomium pronounced on the
day of his commemoration, April 28. A more elaborate and
historic account may be found in Heylin's History of . . .
S. George 0/ Cappadacia.
There are two rival claimants to the name and honor
described above. The residuum of absolute established fact
is perhaps the following : An of&cer named Georgios, of high
rank in the aimy, suffered martyrdom, [n'obably under Dio-
cletian. (See Encyc. Brit.) Nares m his G/ossury cites a num-
ber of allusions to St. George in literature, and some of the
customs which have prevailed on St. George's Day. Swaen,
Figures of Imprecation {Engl. Stud. 24. 209) says of this oath :
'As might be expected names of saints are often found in
curses and invocations in the Middle Ages. Naturally this
habit was dropped after the Reformation, but St, George, the
patron of England, has retained his hold upon the English to
this day.' Swaen also gives a list of examples in ht^ature.
1.4.93. Heltersketter, hang lonow, etc. 'The hortatory
exclamations with which Cob concludes his soliloquy are
either proverbial vulgarisms, or the burden of popular songs.
Vp-taUs-ail occurs in the Fleire (ed. Nibbe 3. 38) : "" She euerie
day sings lohn for the King, and at Vp-lails-aU, shees perfect." :
and in the Coxcomb i, 6, 139 where Silvio smgs, "Then set
your foot to my foot, and Vp-taUs-ail." ' — G. fare'U kill
a cat is an Engl^ proverbial expression. See HazUtt, Eng-
lish Proverbs and Proverbial Phrases, p. 113, and Ray, Pro-
verbs, p. 108. Cf . also Lewis, Herefordshire Glossary, p. 126 :
' A Herefordshire version of care killed the cat is care clammed
the cat.'
1. 5- 32- potMsn no gentkmeo . . . with notice ol mj lods-
ing. See possesse in Glossary. Cf . Abbott, § 295, and Franz,
§ 630 b. Cf. Twetflh Night, 2. 3. 149 : ' Possess us, possess us ' ;
Mer. of Ven. 4, l. 35 : 'I have possess'd your grace of what
I purpose.'
Q I. 3. 123. M popular and goneralL See genera/ in Glos-
sary. Cf. Catiline 1. 1, p. 209: 'Are you coying it. When I
n,g,i,7cd by Google
310 Euery Man in his Humour
command you to be free and general To all ? ' F substitutes
generally visited for generall.
1. 5. 46. Ooft I9, Hieronjmo. See Kyd's SpaHisk Tragedy
3. 12. 27. ff. :
Hier. Justice, 0, justice to Hieronimo.
Lor. Back ! see'st thou not the King is busy ?
Hier. O, is he so ?
King. Who is he that interrupts our business ?
Hier. Not I. Hieronimo, bewsre I go by, go byl
See note on l. 5, 46. Cf . Cyntk. Rev. Ind,. p. 213 : "That the
old Hieronimo, as it was first acted, was the only best, and
judiciously penn'd play of Europe ' : i4/cA.4.4,p. 147: 'Hiero-
nimo'sold cloak, ruff, and hat will serve'; ibid., 5.2, p. 166;
' Here's your Hieronimo's cloak and hat ' ; Barth. Fair, Ind.,
p. 348 : ' He that will swear, J^onilno, or Andronicus, are the
best plays yet, shall pass unexcepted at here, as a man whose
judgment shews it is constant, and hath stood still these five
and twenty or thirty years ' ; New Inn 2. 2, p. 339 : Go by,
Hieronimo.'
1.5.47. is't ^0^ well pand. 'Although Jonson ridicules
the play, he probably had some affection for it, as he appears
at one time to have supported the charactar of Hieronymo.
and subsequently to have written some additions to the pliy
for Henslowe.' — Wh. 'That Jonson had himself played the
part of Jeronimo in the Spanish Tragedy in a children's
company appears from Dekker's Satiromastix.' — Henslowe's
Diary (ed. Greg 2. 154). See Satiromastix (1873), p. 20a :
'Goe by leronimo, goe by.' The passage in Henslowe re-
lating to Jonson 's additions to the Spanish Tragedy may be
found in Greg's edition 2. 153: 'Paid, on behalf of the Ad-
miral's men, to Jonson, 25 Sept. 1601, for additions, £2 ; also
22 June 1602, in earnest of Richard Crookback and for new
additions, £10.'
1. 5. 56. Oh eyes, no eyee, bat loontaynes tranght wifli
tsam. These words are an exact quotation from Hieronimo's
lament for bis murdered son in The Spanish Tragedy 3. 2. i :
O eyes I no eyes, but fountains fraught with tears ;
0 life 1 no life, but lively form of death ;
n,g,i,7c.dbyG00'^lc
Explanatory Notes 311
O world I no world, but mass of publk wrongs,
Confus'd and fiU'd with murder and ntisdeedsl
O sacred heav'ns! if this unballow'd deed.
If this inhuman and barbarous attempt.
If this incomparable murder thus
Of mine, but now no more my son.
Shall unreveai'd and unreveng'd pass.
How should we term your dealings to be just,
If you unjustly deal with those that in your justice trust ?
I. 5. 68. tnrOe-UllJiig lonen. Note that lurtU-biUing is
substituted for friw deserving of Q. The former expression
seems more in keeping with the kind of verse illustrated here.
1.5-75- That boot beoomeiyonilegge, passing welL 'The
form of the boots seems to have been continually changing :
sometimes they were neatly fitted to the l^s; then, again,
they were wide and full of folds ; sometimes they were high
above the knees ; then, again, below them ; in short, they
seem to have been fashioned in few instances alike : the whole
appears to have depended entirely upon the whim of the
wearer. The tops wctc generally turned down upon the boots ;
and sometimes they differed from them, not only in colour,
but in the materials. We read of lawn boot tops ; but these
are mentioned as a peculiar instance of foppery : however in
the seventeenth century they were very wide, and had their
edges ornamented with ruffles and fringes.' — Strutt, Dress
and Habits of England i. 347. The foUowing description of
boots as part of the dress of a dandy in 1604 is to the point :
•I beheld a curious pair of boots of King Phihp's leather,
in such artificial wrinkles, sets, and plaits, as if they had been
starched lately and come new from the laundress's, such was
my ignorance and simple acquaintance with the fashion, and
I dare swear my fellows and neighbours here are all as ignorant
as myself. But that which struck us most into admiration,
upon those fantastical boots stood such high and wide tops,
which so swallowed up his thighs, that had he sworn, as other
gallants did, this common oath, would I might sink as I stand !
all his body might very well have sunk down and been damned
in his boots.' — I. M., Father Hubbard's Tales or The Ant and
the Nightingale. Middleton, Wks. (ed. Dyce 5. 567)- Dekker,
n,g,i,7cd by Google
313 Euery Man in his Bumom
in his GvU's Hornbook, ch. 3, gives the following advice to a
gallant : ' As for thy stockings and shoes ; so wear them, that
all men may point at thee, and make thee famous by titat
glorious name of a malecontent. Or, if thy quicksilver can
nm so far on thy errand, as to fetch thee boots out of S.
Martin's; let it be thy [arudence to have the tops of them
wide as the mouth of a wallet, and those with fringed boot-
hose over them to hang down to thy ankles.' Stubbes, in his
Anatomy of Abuses, p. 61, thos describes the great excess
shown in boot-hose : ' They faaue also bootehose which ar«
to be wondered at ; for they be of the fynest doth that may
be got, yea, fine inovgh to make any band, niffe, or ^urt
needful to be worn : yet this is bad inough to were next their
gresie boots. And woukl God this weare all : but (oh, i^y
for shame !) they must be wrought allouer, from the gartering
place vpward, with nedteworke, clogged with silk of all colors,
with birds, foules, beasts, and antiques purtrayed all ouer in
comlie sorte. So that 1 haue knowen the very nedle work
of some one payre of these bootehose to stand, some in iiii.
pound vi. pound, and some in x. pound a peece. Besides
this, they were made so wide to draw ouer all, and so k>nge
to reach vp to the waste, that as htle, or lesse, clothe would
make one a reasonable large shurte.' It is not improbable
that Bobadill's boots belonged to this rather extreme type.
I.5-77' U'sthebuhiUL Q reads 'a fashion.' Fisbetter.
as emphasizing a more pronounced vogue of the day. See
note on hose, i. 3. 37.
r. 5. 81. lumgSE. A band affixed to the girdle or belt by
which the sword was suspended. . . . They were sometimes
richly decorated and jewelled.' — ^Fairholt, Costume in En^and
2. 216. See also Planch^, Cydo. of Costume i. 253. Cf.
Hamlet 5. 2. 154 : 'The King, sir, hath wj^ered with him six
Barbary horses : against the which he has imponed, as I take
it, six French rapine and poniards, with their assigns, as
girdle, hangers, and so.' Stubbes. in his Anatomy of Abuses,
quotes the description of the dress of a young dandy in 1604
by I. M., in his Fattier Hubbards Tales. On p. 242 occurs
the following allusion to hangers : ' AU this while his Frotch
n,g,i,7cd by Google
Explanatory Notes 3x3
monkey bore his cloak of three pounds a yard, lined clean
tbroogh with purple velvet, which did so dazzle our coarse
eyes, tiiat we thought we should have been purblind ever after,
what with the prodigal aspect of that and his glorious rapier
and hangers all host with pillars of gold, fairer in show than
the pillars in Paul's or the tombs at Westminster ; beside, it
drunk up the price of aE my plough-land in very pearl, which
stuck as thick upon these hangers as the white measles upon
a hog's flesh. When 1 had well viewed that gay gaudy cloak
and those unthrifty wasteful hangers, I mutt^ed thus to
myself : "That is no cloak for the pain, sure ; nor those no
hangers for Derrick."'
1.5.82. peremptoir-lMaiitifaiUL This replaces fr«<iftft/«U of
Q. See peremptory in Glossary,
I. 5- 89. roc^ 'The names of various stupid birds have
been used at different periods for "fool" or "dupe": — %tiU
(properly a "young bird" of any kind), pigeon, dam, 4odo,
dotterel, and rook.' — Greenough and Kittredge, Words and
Their Ways, p. 363. Cf. Poet. 1. 1, p. 378 : 'Ovid sen. Shall
I have my son a stager now ? . . . a gull, a rook, a shot-dog.
to make suppers and be laugh'd at" ; Epic. 1. 1, p. 352 : 'Cler.
Did you ever hear such a wind-sucker, as this ? Dattp. Or
sucharookas theother.' Seealso note on roofte in Henry's
edition of Epic, p. 160.
Q I. 3. 172. (one a Hum). For a, see note on size a clocke,
1. 4. 59. This parenthetical expression is wisely omitted in F,
since it renders the sentence bungling, and is unnecessary to
the sense.
1. 5- 96. He ha's not so much as a good phrase in his bell7t
but all old iron, and rosUe ptonerbes. Cf. Case is Alt. 1. 1,
p. 310 : 'O how pitifully are these words forced ! as though
they were pumpt out on's belly.'
1. 5. 113. A most proper, and sufficient dependanoe. See
dependance in Glossary. Cf. Devil is an Ass 3. i, p. 80 : 'If
we do find. By our proportions, it is Uke to prove A sullen and
black business ; . ■ . then We file it, a dependence 1 '
1. 5. 1x4. the great Carania. Jeronimo De Carranza was
the aathor of a work on dueling called De la fitosofia de las
n,g,i,7cd by Google
314 Euery Man in his Humour
armas, cU su destreza y de la agresiott y defension Chrisliana.
A few copies were printed in 1569, and it was published in
1582. 'As the title leads one to anticipate, there is as much
of the author's ethical and theological theories in thb cele-
brated work as of swordsmanship proper. Its production,
joined to Carranza's reputation as "esgrimidor", certainly
entitled him to the name of " inventor of the science of arms ",
of that Spanish science at least that based its principles on
the matibematical relation of angles to their subtending arcs,
of tangents and chords to their circle, and all that [wmpous
nonsense which Quevedo, a century later, ridicules so finely
when he describes a scientific "espadachin " put into a comer
by an uninitiated but resolute antagonist, notwithstanding
the fact that the formCT had "gunado los grados al perfil",
the infallible result of which operation should have been
complete mastery.
'A second edition of Carranza's book was published in 1600,
in all respects similar to the former, together with the 5rst of
that long series of works, either by Don Luis Pacheco de
Narvaez, or about him, which forms nearly the whole hterature
of fencing in Spain during the seventeenth century.' — Castle,
Schools ondMasters ofFfttce.p.bS. See Beau, and Flet., /.cos's
Pilgnmage, Wks. 11,317: *Stay, hear me: hast thou ever
read Caranza ? ' Dyce adds the following note, altered from
Weber upon Carranza : ' "Caranza (Jerome), n^ i Seville, dans
le i6' si&:le, chevalier de I'ordre du Christ en Portugal, passa
en Am6rique en 1589, fut gouvemeur de la province de Hon-
duras, et fcrivit sur I'art des armes, principalement de I'^pie.
soit pour I'attaque, soit pour la defense. II est le premier
qui paraJt avoir r^uit en pratique la thforie publi^e par un
nomm6 Jean Pons de Perpignan. ... On publia en 1612
un abr^6 du trait4 de Carranza {by Padieco de Narvaez)."
Biog. Univ. — "Together with Pacheco de Narvaez and some
others, Caranza was held in the highest esteem in his own
country, and conceived himself one of the greatest of mortals.
When he and his comrades became the subject of ridicule, and
fell under the lash of such men as Quevedo and Bartolomeo
Leonardo de Aigensola, they not unfrequently retorted by
n,g,i,7cd by Google
Explanalory Notes 315
burlesquing their compositions, some of them possessing the
talent of rbyming in conjunction with that of fencing. An
admirable travesty by Caranza of an ode of Luis de Leon has
be^i printed from a manuscript in the Pamaso Espahol (voL
IX, p. 189). Caranza is celebrated in Cervantes's Catiio de
Caliope and in Lope de Vega's comedy Los Locos de Valencia,
Our early dramatists have levelled many satirical passages
at Caranza and his followers."'
I. 5. 116. the lint stoccate. The stoccata is included by
Saviolo among the three thrusts to be employed with rapier
and dagger. This, together with the imbroccaia, was classi-
fied according to the point of arrival on the adversary's body.
'The ^occiUa reached the enemy under the sword, hand, or
dagger, and might be delivered with the hand in pronation
or any other position.' — Castle, Schools and Masters of Fence,
pp. 83—4. The only English treatise on the rapier-play of
the sixteenth century, besides a translation of Grassi's work,
is VinceiUio Saviolo, his Practise. — Ibid., p. 79.
1. 5. 122. Tn-in-(Hie-lireatli-Ttter-abla sldU. Cf . note on
what-sha-call-em doublet, 1. 3. 13. This long compound is not
found in Q.
1.5-127- accomodate n with another bed-itaBe. Seeacco-
modate in Glossary. Wheatley thinks it probable that the
word became popular about this time and quotes the passage
from Discoveries {Wks. 9. 209) where Jonson, in remarking
upon an epistolary style, says ; ' You are not to cast a ring
for the perfumed terms of the time, as accommodaiion, com-
flement, spirit, rf-, but use them properly in their place, as
others.' Cf. Porf, 3. i, p.435: 'Will you present and accom-
modate it to the gentleman'; 2 Henry IV 3.2.72: 'Bar'
dolph. Sir, pardon ; a soldier is better accommodated than
with a wife .... but I will maintain the word with my sword
to be a soldier-hke word, and a word of exceeding good
command, by heaven.'
See Glossary for bedsiaff. Cf. Staple of News 5. 1, p. 283 :
'But that she is cat-lived and squirrel-Iimb'd, with throwing
becstaves at her.' 'In AUeyn's Will, 1626, the furniture of
twelve poor scholars' chambers is mentioned as six bedsteads.
n,g,i,7cd by Google
3i6 £wry Man in his
six mattresses, six feather-beds, etc., and three dozeo of bed-
staves .... The bedstaff appears to have been still used as
an ofiensive weapon up to a much later period. In the I»-
gddsby Legends, a faithless husband is attacked by the Lady
Rohesia, who grasped the bedstaH, "a weapon of mickk
might.'"— Wh.
I. 5. 145. the pftasada. Saviolo (see note on i. 5. ie6)
defines the passata, among cuts, as follows: 'The passata
was the chief means of closing the measure, as well as escaping
a hit in a way which allowed of a counter attack at the same
time. Passes were made to the right or left with the ri^t
foot followed rapidly by the left ; also to the front, provided
the opponent's blade h^ been beaten aside with the left hand
orda^er.' — Castle, Schools and Masters of Fence, p.84. Sav-
iolo's classification of cuts follows that of Marozzo. 'Mar-
ozzo is generally looked upon as the first writer of note on
the art of fencing. It would be perhaps wiser to consider
him as the greatest teacher of the old school, the rough and
midiscipUned swordsmanship of which depended as much on
dash and violence as on carefully cultivated skill. Marozzo
was a Bolognesc, but he kept his school in Venice. His re-
putation was very great, to judge from the numerous editions
of his works, five of which were published between 1536 and
1615. —/6*rf., p. 34.
1.5. 152. Voinel Fie. Mort groaae daiKaaination. m mat
I hwid, Cotgrave, in his French and English Dictionary
(1632), gives as one definition of venue, 'a vennie in fencing ;
also, a tume, tricke, iert, or ierke.' Florio, in his Dictionary
of Italian and English (1611), defines staccato as 'a thrust,
a stoccado, a foyne.' HoweU, in his Lexicon TetragloOoH
(1660), sec. 32, mentions, among fencing terms, 'afotn.veny,
or stoccado.' Steevens and Malone engaged in an argument
over the word venew, as it appears in Love's Labor's Lost
5.1.62: '...A sweet touch, a quick venue of wit.' Steevens
maintained that 'a venew is the technical term for a bont at
the fencing school.' Halone, on the other hand, declared
that ' A venue is the technical term used by fencers for a hit.'
(See Halone's Shakespeare 3. 395). Douce, in his lUu^a-
n,g,i,7cd by Google
Explanaiory Notes 317
tioHS of Shakesp€ttre,pp.i4sS., carries the discussion further,
and arrives at the following decision (p. 146) : 'On the whole
therefore it appears that veitew and bout equally dmote a hit
in fencing ; that both Wr. Steevens and Mr. Malone are right
in this respect ; but that the former gentleman is inaccurate in
supposing a venew to mean a set-to, and the latter equally so
in asserting that a "venew is not a bout.' Gifiord commi-
serates the state 'of some of our ancient poets, who groan
under the weight of discordant conmientaries on this trivial
word ! ' It seems sufficient to point out, as he does, that
stoccataandveTtuean synonymous toms, both equivalmt to
ihrusi, and to emphasize the fact that Bobadill here shows
iweference for an Itahan rather than a French word. Cf,
Meny Wives 1. 1. 294: 'I bruised my shin th' other day with
playing at sword and dagger with a master of fence ; three
veneys for a dish of stewed prunes'; Webster, Westward Ho
{Wks., ed. Dyce, 2. 3. 54) : 'Fear not me, fora veneyor two';
Greene, Frier Bacon and Frier Bungay {Wks., ed. Grosart,
13. 90) -. ' Why standst thou, Serlsbie, doubtst thou of thy life ?
A venie, man: faire Margret craues so much.'
1.5. 159. I will kame jroo. See Abbott, §291, and Franz,
§ 630, v., for comments on learn used as the transitive verb
teach. Cf. Tempest 1.2.365: 'The red plague rid you for
kaming me your language.'
I. 5. 167. 'Tis aomenbat vith Uw least This passage is
cited by Abbott (§ 195) as an instance of the use of wM in
the sense of lihe. Cf. New Inn 2. i, p. 327 : ' It was a great
deal with the biggest for me,' Tennant (ed. New Inn, p. 189)
cites this passage, and comments thus upon Abtwtt's expla-
nation : 'But that surely is not a satisfactory explanation of
eitho- instance of this pecuhar expression.' In our play the
meaning is clearly ' too big ', and in Every Man In, ' too little ',
In both cases it is used to denote excess. The example which
NED. gives of with the largest can be explained in the same
way: "Ld.BemersFf«ss. Il.cxviii. [cxiv.] 339 They ...payed
eoery thynge with the largeste [Fr. bien A largemeni\, so tiiat
euery man was content." The meaning here is not too freely,
ot course, but very freely, tnost freely. This is exactly the
n,g,i,.i.d by Google
ytS Ettery Man in his Humour
same range of meanings that we find in a Latin superlative.
Abbott's statement, then, should read somewhat after this
fashion : 'With is used with a superlative, where we usually
use too or very with a positive, to denote excess.'
1. 5.168. abinidiolndidi,aiidsalt,totMtoniwiiiaL 'In
MufEet's Health's Improvement, 1655, p. 226, we read "most
men eat radishes before meat to procure appetite and hdp
digestion." This is still the common [vactice in Italy.' — ^Wh.
I. 5. 171. the OividcHi. Virgil uses Corydon as a sbephod
in Eclogues a and 7, In Eclogue 2, he is represented as con-
sumed with a hopeless love for Alexis. He bewails his fate in
song, and his theme b always (i. 56) : ' Rusticus es, Corydon ;
nee munera curat Alexis. ' Giffbrd remarks in this connecti(»i :
'The name of this unfortunate shephnd of Viigil seems to
have suggested to our old writers a certain mixture of rusticity
and folly. So in the Parson's Wedding i. 3 : "He has not
so mnch as the family jest which these Corydons are to inherit.'"
ACT II
2. 1. 5. Let bim tell ooer, itniiAt, tbat Spanish gtdd. And
weigh it, with Ok' pieces of e^t. 'The Portcullis, or expor-
table Money, is peculiar to this Reign (i. e. Elizabeth's), and
very scarce; it was coin'd by commission, the eleventh of
January, in h^ forty-third year, for the use of the East-India
Company, and therefore called Indian Money. The Queen
would not admit the company, at her first granting them to
be a corporation, to transport the King of Spain's silver Coin
into the East Indies, though the merchants pressed it very
often, telling her Majesty, that her silver Coin and stamp was
not known in the East-Indies. To which she replied. That fw
the reasons the merchants alledged, it was her resolution not
to grant the King of Spain's, or any foreign Prince's Coin,
to be sent into India, but such pieces as were coin'd with her
effigies on one side, and the portcullis on the other ; that the
Indians might know her, wherever her merchants traded, to
be as great a Prince as the King of Spain ; and that no nwre
should be sent than she and her conncU should approve. And
n,g,i,7cd by Google
Ex^anatory Notes 319
this was to supply the place of Spanish Money, which was
best known in the Indies, it was made of the just weight and
fineness of the Spanish Dollar, or piece of eight Rials, and the
Parts of the Dollar, vis. in pieces of eight Testers, four Testers,
two Testers, and single Testers ; the Tester being equivalent
to the Spanish Rial of Plate : The Piece of eight Testers, com-
monly called the Portcullis Crown, weighed seventeen Penny-
weights eleven grains, equal to a Spanish Dollar or piece of
eight, and to four ShiUings and six Pence English, and there-
fore may not improperly be called the English Dollar. '^Le^ke,
An Historical Account of English Money, pp. 255 ff.
Cf . Q at this point. Sitverstuffs is a more specific expression
than wares. The appoiBtment to meet on the Exchange has
more of Ufe in it than the vague ile be there of Q.- The intro-
duction of (he pieces of eight and the grogran's is a good touch,
and suggests additional action. The whole speech has gained
in vitality and realism in F.
2. 1. 9. grognn'B. See Glossary. 'By grogram (French,
gros-grains) is meant a variation in the texture, caused by the
warp-threads passing over two of the shoots at once, taking
up one only ; this often finishes the edge of a ribbon.' — Fair-
holt, Costume in England 2. 197. Stubbes, in his Anatomy
of Abuses, p. 74, mentions grogram, together with silk, taHeta,
satin, etc., as the customary material for doublets. Dekker,
in his Gull's Hornbook, ch. 4, gives the following direction to
his gallant : ' After dinner you may appear again, having trans-
lated yourself out of yoiu* English cloth cloak into a light
Turkey grogram, if you have that happiness of shifting.'
2. 1. 10. on tbfl Exdiange. The Royal Exchange was
rendered popular in London by the visit of Queen Elizabeth
in 1570. ' After dinner her Maiestie, returning through Gjrne-
hill entered the Bursse on the southside, and after that she
had viewed every part thereof aboue the ground, especially
the,Pawne, which was richly furnished with all sorts of the
finest wares in the Citie : shee caused the same Bursse by an
Herauld and a Trumpet, to be proclaimed the Royal Exchange,
and so to be called from thenceforth, and not otherwise.' —
Stow, Survey of London (ed. Kingsford, p. 193). The trade in
Va
n,g,i,7cd by Google
320 Enery Man in his Sumour
the exchange steadily increased after this time, and it became
as popular -a lcnmgitig-|dace and resort for vHas as Paul's
walk. See Stow's Chron. of England, p. 868.
2. 1. 15. I tooke him of a dtUd, etc. I. e., from a child,
when a mere child. See 0/ in Glossary, and cf. Abbott. § 167.
Franz, § 516, and Maetzner, Englische Grammatik 2. 238. Cf.
also Acts 8. XI : '01 long time he had bewitched them with
sorceries ' ; Ham. 2. 2. 11 : '. . . Being of so young days brought
up with him.'
Cf. Q, and note the additional information regarding Cash
in F. Q comments upon the superlative honesty and general
trustworthiness of Thorello's servant. F teUs how Kitely
adopted and christened Thomas, bred him at the Hosfntal,
made him his cashig-, and fotmd him finally of abounding
faith. The more personal tone of the lattar establishes a
dramatic relation between Kitely and Cash, and makes it
more possible for him to be a factor in the play.
2. 1. 17. Since bnd him at the HospitalL Gifford suggests
that the reference here is to Christ's Hospital, or the Blue-
coat school, which at its first establishment was used as a
foundling hospital. Full information r^arding this famous
institution may be found in Trollope's History of Christ's
Hospital. It is pleasantly associated with hterary history
through the attendance, as pupik, of Lamb, Coleridge, and
Leigh Hunt, who have left accounts of their sojourn there.
2. 1. 23. So, would not 1 in any baitaidh broUm, etc.
This is a far more natural and realistic sentiment to put into
the mouth of a friend than the God send me neuer stick need
of Q.
2. 1. 31. What need. The impersonal ne«ds often drops
the s. It is often found with what, where it is sometimes hard
to say whether what is an adverb and need a verb, or what an
adjective and need a noun. See Abbott, § 297. Note that
Q has needs.
2. 1. 36. bat oontiime. Gifiord substitutes the word both
for hut, believing the latter to have been erroneously copied
from the preceding line. He is influenced in this opinion by
the quarto reading, all contest.
n,g,i,7cd by Google
Exflanatory Notes 331
2. 1. 46. He thought. This is an old imp^^onal construc-
tion. Cf. Abbott, § 297, and Franz, § 627 6.
2. t. 55. u scarce no note remainea. See Abbott, § 406,
and, Franz, § 410, for double negative.
2.1.69. He Tallies me, at a onckt thiee-brthingg. Eliza-
'foetb, early in her reign, set out to complete the reformation
in the coinage-system which had been begun by Edward VI .
Soon after the issue of her first coinage a shortage of small
coins was felt. Accordingly, in 1561, she ordered an issue of
sixpences, threepences, three-halfpence, and three-farthings.
Three-farthings were never coined in any reign before, or
since; they were discontinued in 1582. Coins of the four
denominations mentioned bore a rose behind the head of the-
queen. See Hawkins, Silver Coins of Etigland, p. 297 (jd
ed.) and Leake, On English Money, pp. 241, 254. GifEord
quotes the following passage to verify the text's suggestion
tiiat the three-farthings was thin, and of httle value. K.
John I. I. 141 :
. . . My face so thin
That in mine ear I durst not stick a rose
Lest men should say ' Look, where three-farthings goes I
2. 1. 74. lot Oeo^e. See note on St. George, i. 4. 85.
2. 1. 77. the (knmters. See Glossary. Information con-
cerning individual counters in London may be found in Stow's
Smvey (ed, Kingsford 1.263): 'Some foure houses west
from this Parish Church of saint Mildred, is a prison house
pertaining to one of the shirifies of London, and is called the
Counter in the Poultrie. This hath been there kept and con-
tinned time out of minde, for I haue not read of the originall
thereof.'
2. z. 77. he has the vrong sow by the eara. This is an
English proverb. See Ray's Proverbs (ad ed., p. 270) ; 'To
take a wrong sow by the ear.'
2. 1. 78. claps his dish at the wrong nuuis dore. This is
an &ig]ish proverbial expression. 'Clap-Dish. A wooden
dish carried by b^gars, with a moveable cover, which they
clapped and clattered to show that it was empty. In this
n,g,i,7cd by Google
322 Euery Afan in his Humow
they received the alms. It was one mode, among others, of
attracting atteotioD. . . . The clap-dish was also termed a
clicket .... It was used, I believe, originally, by lepos and
other paupers deemed infectious, that the sound might give
warning not to approach too near, and alms be given without
touching the object.'— Nares, Glossary 1. 164, Cf.Cotgiave :
'CtiquetU. A clicket, or clapper ; such as Lazers carrie about
with them.' See also, Ray, Proverbs (2d ed., p. 239) : 'He
claps his dish at a wrong man's door.'
2. 1. 82. he nuds me. Adjectives were freely converted
into verbs in Jonson's time. The process was facilitated by
the decay of the inflectional ending en in verbs. Bee Abbott,
§290.
2. 1. 82. I oonld fltto my veir spor-lethen. F has sub-
stituted spur4ethers for the flesh of Q. This is i
with the general tempering of such expressions in F.
2. 1. loi. Hewoaldbeieadietromhlshaateolbiiniat, etc.
Humor is used here in its ancient ph3^iological sense of one
of the four liquids, the commixture of which produced a man's
temperament, and the prepond^ance of any one of which
caused a distemper. See Greenough and Kittredge, Words
' and Their Ways, pp. 30 ff.
2. 1. 109. Fiom mj Hat cap, vnto mjr ibinins abooei.
' Hats were worn low in the crown and narrow in the Imm
until the reign of Elizabeth. Throughout the reigns of
Henry VIII., Edward VI., and Mary, the general wear among
ordinary classes was the bonnet or flat-cap. . . . By an act
of parliament of 1571, it was provided that all above the age
of six years, except the nobility and other persons of degree,
should, on sabbath-days and holy da3's, wear caps of wool,
manufactured in England. This was one of the laws for the
encouragement of trade, which so much occupied the legis-
latorial wisdom of our ancestors, and which the people, as
constantly as they were enacted, evaded or openly violated.
This very law was repealed in 1597. Those to whom the law
applied, and who wore the statute-caps, were citizens, and
artificers, and labourers. . . . During the reign of Elizabeth
many and various were the forms of fashionable hats as worn
n,g,i,7cd by Google
Explanatory Notes 323
by the upper classes, and they were generally of velvet.' —
Fairholt, Costume in England 2. 235, 236. Stubbes, in his
Anatomy of Abuses, p. 50, throws further light on the pre-
vailing vogue in his day : ' Sometimes they wea'e them sharp
on the crowne, pearking vp like a sphere, or shaf te of a steeple,
standing a quarter of a yard aboue the crowne of their heades ;
some more, some lesse, as please the phantasies of their mindes.
Othersome be flat and broad on the crowne, like the battle-
ments of a house. . . . And as the fashions bee rare and
stratmge, so are the tilings whereof their Hattes be made,
diuerse also ; for some are of silke, some of velvet, some of
taffetie, some of sarcenet, some of wooU : & which is more
corioas, some of a c^aine kind of fine haire, far fetched and
deare bought, you may bee sure ; And so common a thinge
it is, that everie Seruing man, Countreyntan, and other, ea&x
all indifferently, do weare of these hattes.' ^
2. 1. 123. Ulu one ol these peaorions aaaek-MlnKi. The
character of the quack who haunted the streets of Elizabethan
London is well described by Ward {London Spy, April, 1699,
p. 8) : 'Pray, says my friend, what do you think ? Is it not
a shame to our English Physicians to sufier such a parcel of
Ignorant, Illiterate, and Impudent Vagabonds to Cozen Poor
Innocent Wretches out of their money Publickly in the
Streets, who want it themselves to purchase Bread and Nec-
essaries ? I can't Imagine what can be urg'd as an excuse for
the tolerating such Rascals, to drain the Pockets of the Poor
by preposterous Lyes, Jumbled into a Sencetess Cant, to per-
swade the People to believe them really that, to which they
are only a Scandal. And as a means to disswade the Publick
&om their foolish Opinion of these Emperical Vagabonds, or
their Medicines, which are only made from a parcel of perish 'd
Drugs, ground promiscuously together, without Art or Rule,
and so made up into sundry sorts of species, to allure the
Ignorant.'
'Der auQerst mangelhaften Vorbildung der Arzte ent-
sprachen ihre Heihnethoden. Sie kurierten nach Art der
Knrpfuscher mit Arzneien, die sie selbst aus Krautem und
Giften bereiteten und zurechtmischten. ... Sie gaben sich.
n,g,i,7cd by Google
334 Euery Man in his Humour
als gelehrte und weitgereiste Wunderdoktoren aus, die, mit
ihren Mitteb die schwierigsten Krankheiten geheilt haben
wollten, und betracbteten ihre Fatienteo nur als GeldqueBe
undVersuchsobjekte.'— Schnapperelle, Z>wB«rgerf»cACTiSaikfo
und das Volk in England wahretid des xvi. und xvii, /«rtr-
kunderts, p. 33. Jonson ridicules quack doctors in a number
of places: Alch.2.i,^.^-j: 'Past all the doses of your drugging
doctors'; Volp. 2. I, p. 203:
. . . They [quack doctors] are most lewd impostors;
MaJde all 01 terms and shreds ; no less beliers
Of great men's favours, than their own vile med'cioes;
Which they will utter upon monstrous oaths :
Selling that drug for two-pence, ere they part.
Which they have valued at twelve crowns before;
Every Man Out 5. 4, p. 181 : ' But for your dog, sir Puntarvoto,
if he be not out-right dead, there is a friend of mine, a quack-
salver, shall put life in him again, that's certain'; Stop, of
News 4. I, p. 269:
This dog'leach.
You style him doctor, 'cause he can compile
An almanac, perhaps erect a scheme
For my great madam's monk^, when't hasta'csi
A glyster, and bewray'd the Ephemerides.
Do I despise a leam'd physician.
In catling htm a quacksalver ?
2. 2. 21. lie ne'te draw my sword in the ai^t ol Reet-
rtteet agsine. 'Fleet Street was famous for its waxwork and
other moving exhibitions from Queen Elizabeth's time to
Queen Victoria's, "probably", says Gifibrd, "from its being
the great thoroughfare of the city."' — Wheatley, London
Past and Present 2. 61. For a more extended history and
description of Fleet Street, see Thombury's Old and New
London x. 32—147. Cf. Every Man Out 2. i, p. 64 : 'Tbey
say, them's a new motion of Uiecity of Nineveh, with Jonas
and the whale, to be seen at Fleet-bridge.'
2.2.24. tiut hnge tmnliEell-sIop ol yonzs. 'The next re-
markable innovation was the trunk-tnreeches or slops, which
were gradually swelled to an raormous size : these breeches,
we are told, were stuffed q,ut with rags, wool, tow, or hair, and
sometimes indeed, with articles of a more cumbrous nature.
n,g,i,7cd by Google
Exftanatory Notes 325
if the story related by Holingshed be founded upon fact ;
wberein a man is said to have exhibited the whole of his bed
and table furniture, taken from those extensive receptacles.' —
Stmtt, Dress and Habits, etc. r. 259. Cf. Epic. 4. 2, p. 436
and note (ed. Henry, p. 248): 'If he could but victual
himself for half a year, in his breeches, he is sufficiently arm'd
to over-run a country ; ' Butler, Hudibras, i. r :
With a huge pair of round-trunk hose.
In which he carried as much meat
As he and aU his knights could eat.
2. 2. 26. Gangantrs breech. Garagantua is taken from
the giant in Rabelais' Lije of Gareanitta. 'Gargantua is a
giant with an enormous appetite, and his name has become
proverbial for an insatiable eater. The misspelling Oara-
gantua, originated by Pope in his edition of Shakespeare's
plays {As You Like It 3. 2. 238), has been followed by some
other editors (Ftattess). There was a chap-book, popular in
England in the i6th century, giving the hbtory of the giant
Gargantua, who accidentally swallows hve pilgrims, staves
and all, in his salad.'— CD. Jonson uses the word here to
comment in another way upon Bobadill's huge breeches.
' Samuel Rowlands, in his Knaves of Spades and Diamonds,
likens "the great laige ahhominable breech " to " brewers' hop-
sackes " and these ugly garments had many enemies. Wright,
in hisPiW«OMS of iheMinde, 1601, says "this absurde, clown-
ish, and unseemly attire only by custome now is not mis-
liked but rather approved." An order was made in the 4th
and 5th of Philip and Mary by the Society of the. Middle
Temple that none of their members "should wear great
breeches in their hose, after the Dutch, Spanish or Ahnain
fashion",' on pain of forfeiting 3s. 4^. for the first and ex-
pulsion for the second ofiense.' — Wh.
2.2.30. right hangi^nan oat. I.e., the veritable bearing
of a hangman.
2. 2. 32. ging. Gifford's emendation of ging to gang is
in line with his other emendations in this play ; like them,
it is arbitrary, being based upon no sufficient reason. As
n,g,i,7cd by Google
326 Euery Man s» his Humour
Wheatley observes, the word is a good old one, meaning
company. There is no reason to doubt that this is the word
which Jonson wrote. Wheatley remarks, also, that giitg was
generally used in a less disparaging sense' than goHg. He
appends to this statement the three following quotations (the
first quoted incorrectly by Wheatley) :
Welcome, poet, to our gii^.
Make rhymes, we'll give thee reason.
— Middleton, SfaniskGypsy {Wks., ed. Dyce, 4. 141).
For all your dagger, wert not for your ging,
I would knock my whipstock on your addle-head.
—Downfall of Robert Earl oj Huntingdon (HazUtt's
Dodsley 8. 145).
lliere's a knot, a ging, a pack, a conspiracy against me.
—Merry Wives 4. 2. 123.
The first only of these quotations bears out Wheatley's
contention, althoi^h the history of ging itself does show that
it is, in general, freer from immoral implication than gang.
Still, its connotation is certainly most uncomplimentaiy in
the passage in question, and it is not sufficient reasrai to urge
against Gifiord's emendation that gang is usually a more dis-
paraging term. The real difficulty resides in the fact that
personal predilection, rather than the desire to preserve purity
of text, seems, too many times, to be Gilford's guiding motive.
Q reads nest for ging.
2. 2. 34. Wei. as he brewei, so he shall drinke. This is a
proverbial expression. —See Lean's Collectanea: English and
other Proverbs, Folk Lore, etc., 3. 423. Note the following
occurrences : ' Bullein, Bulwarke of Defence 2. 37 : ' Let them
drink as they brew ' ; Wright, Potiiical Poems and Songs (King
of Atmaigne), p. 69: 'Let him habbe asse he brew ale to
drynge ' ; Cursor Mundi, 2848 ; Suilk als pai bruied now ha
]>ai dronken ' ; Piers Plowman, Pass. 21 . 404 : ' The bitemesse
that thow hast browe, now brouk hit thyself'; Hazlitt, Old
Plays {Disobedient Child) 2. 294 : 'As he had brewd so should
he bake'; Tavemer, Proverbs 0/ Erasmtts, p. 49; 'Such ale
as he hath bnied let him drink himself.'
2.3.7. that secariHe, As I ooaU wish, r/ut^ is used with
n,g,i,7cd by Google
Ex^ematory Notes 327
as at this period, where we now use such. CI. Abbott, §280,
and Franz, § 340.
2. 3. 10. tA a venter. See Glossary. Q reads umiie. This
latter spelling seems to have been occasioned by metrical
demands.
2. 3. 14. That any woman should be hooert long. The use
of should seems unusual here. It is sometimes used to denote
a statement not made by the speaker; cf. G^man soUett,
See Abbott, § 328, and Franz, § 615. CL As You Like It
3. 2. 181 : 'But didst thou hear without wondering how thy
name should be hanged and carved upon these trees.'
2. 3. 16. The pablike weale. See weale in Glossary. This
is less forceful than the soueraigtte state of Q.
2. 3. 32. mine eye elects. Eiects is a more ap[»-opriate
word here than obiects of Q.
2.3.36. roae-water. 'ItappearsfromVenner's Via Tfecta
ad Vitam longam, 1650, that fruit was frequently eaten with
rose-water; thus, on p. 171, we read "raspis or framboise
being ripe may be eaten by themselves ... or if there t>e need
of cooling with rose or violet water and sugar ; " and on p. 153 ,
' ' quodlins (codlin apples) are eaten with sugar and rose-water.' ' '
— Wh. See also ibid. (1622), p. 95: 'Orenges sliced and
sopped in Rose-water and Sugar, are very good to cook . . .
the stomach.' Cf. Nashe, Unforl. Trav. (Wks. 2. 226) : 'Their
nere Wtten beardes, must ... be dewed euery day with Rose-
water.'
2, 3. 47. this new disease. 'This disease retained its ad-
jective new for many years, and in 1659 H. Whitmore pub-
lished a little book entitled Febris Anomala, or the new disease
thai now rageth throughout England. The author observed
that the part chiefly affected was the heart, and remarked
that the disease was as old as the art of medicine itself, " thougji
the people call it the new disease." The symptoms were as
follows; — "With a pain in their heads, and inclining to vo-
miting, a sudden faintness of spirits and weakness without
any manifest cause, with a feeble and sometimes intermittent
pulse, so as very lusty and strong men in Cheshire {in the year
1651, where this dis^ise then raged) in a very short space, so
n,g,i,7c.dbyG00'^lc
328 Euery Man in his Humour
lost their strength, that they were not able to stand or turn
themselves in their beds" (p. 72). Prince Henry, son of
James I, is said to have died of this disease, "and now re-
turned to Richmond in the fall of the leaf, he (Henry, Prince
of Wales) complained afresh of his pain in the heat), with in-
crease of a meagre complexion inclining to feveri^ ; and then
for the rareness thereof called the new disease [Aulicus Co-
quinaria). But in a letter from John Chamberlain to Sr
Dudley Carleton it is stated that the Prince's disease was ague.
" It is verily thought that the disease was no other than the
ordinary ague that hath reigned and raged almost all over
England since the latter end of summer, which, by obser-
vation, is found must have its ordinary course and the less
physic the better, but only sweating, and an orderly course
of keeping and government. The extremity of the disease
seemed to lie in his head." (Court and Times of James I.,
1848, vol. I,' p. 203.) It is a curious corroboration of this
that Dr. Whitmore affirmed that the new disease " appears
in the livery of some or other kind of ague." "— Wh.
2. 3- 55' sbee hfts me 1' the wind. See wind in .Glossary.
This is a figurative use of a hunting term. Cf . Sej. 2. 3, p. 5 1 :
' They have us in the wind.'
2- 3. 59. A new disease, etc. This is a good speech in
both Q and F, but if is improved by the alterations made
in the latter. Jealousy is a more insinuating, deceitful, and,
accordingly terrible affliction when characterized as a suiitlt
(F 68) rather than a searching (Q 217) vapor. The same in-
crease in gravity is secured by the substitution of the word
miserie (F 72) for error (Q 221). The phrase or, knowing it
(F 73) helps to render clearer the transition in thoi^ht from
the preceding line and to want the mindes erection (F 73) seems
clearer and more tangible language than want the free election
of the soule (Q 222). In similar fashion, the phrase In spight
of this black cloud (F 75) connects itself more closely with
the subject under discussion than the more conventional Euen
in despigkt of hell (Q 224). There is less choice between
giuit^ the injection (F 67) and catching the infection {Q 216),
but the former active statement is more forceful than the
n,g,i,7cd by Google
Explanatory Noles 329
latter. If there is choice between the feauer (F 76) and this
feaver (Q 225). the advantage would appear to lie with the
reading of Q.
This description of jealousy under the guise of a disease
which like a pestilence infects the brain, works upon the
fantasy, corrupts the judgment, defiles the memory, and
renders nugatory all the reasoning faculties of man, shows
us the philosophic side of Jonson's mind. This passage, too,
is one of the few which make one feel that, had he chosen,
Jonson could have become a poet in the more usual acce[>-
tance of the word.
2. 4. 1. 'EHid. See note on s'lud, 4. i. 6
Q 2. 1. 4. bia gtace. Cf. note on Lord Chamberlaine bis
servants (quarto title-page).
2.4.9. drle bot, oner BIoEe-Fields, to Loudon, 'This
fenne, or Moore-field stretching from the Wall of the City,
betwixt Bishopsgaie and the Posteme called Cripplegate, to
Finsbery and to Holywell continued a waste and unprofitable
ground a long time, so that the same was all tetten for foure
markes the yeare, in the raigne of Edward the second.' — Stow,
Survey of London (1633), p. 475. See other allusions to this
subject in the same work, pp. 33, 301. See note on More-gate,
1.3.100, for .information concerning the imjTOVement in the
means of traversing this fiekl. 'And lastly whereof there is
a more generall, and particular notice taken by all persons,
resorting and residing in London, the new and pleasant walkes
on the North-side of the City, anciently called Morefield, which
field (untill the third yeere of King James) was a most noy-
some and ofiensive place, being a generall laystall, a rotten
morish ground, whereof it first tooke the name. This fielde
for many yeares was enuironed, and crossed with deep stink-
ing ditches, and noysome common sewers, and was of former
times euer held impossible to be reformed.* — Stow, Chron. of
Engl., p. 1021. See drie-foot in Glossary. It is possible that
a pun is intended here and that an allusion is made to the
marshy character of Moor-fields.
2. 4. 12. blew-waiten. ' At the commencement of the
seventeenth century and probably long before that period.
n,g,i,7cd by Google
330 Eiury Man in kis Humour
blue coais were common badges of servitude.' — Strntt Drtss
and Habits of England, p. 302. 'Bine signifies faith aixl con-
stancy, and bhie-coats wore long the badge of servitude, but
in the reigD of James I . they appear to have been discontinned .
at least for a time. In Edward Sharpham's comedy The
Fleire (1607) reference to this is made: "Since blue coats
were left off, the kissing of the hands is the serving-man's
badge ;" and in Middleton's A Trick to Catch the Old One.
Mistress Lucre says: "Since blue coats been tamed into
cloaks, we can scarce know the man fiom the master."' — Wh.
' The elder Palatine in The Witts, a comedy, written l^ Sir
William Davenant, says : "Believe me to be an arrant goit-
leman, such as in his scutcheon gives horns, hounds, and
hawkes-bmiting nags, with tall eaters in blew coais, sans
number ; " and Jonson, in his Masque of Christmas, describing
the habits of his character makes this stage-entry for one of
them : "New Years Gift, in a blew coat like a serving man."
Some temporary prohibition, probably, occasioned the follow-
ing speech in a comedy entitled The Fleire (see above). If
such a prohibition ever did exist, it certainly was but of short
duration, as may be proved in the previous quotations ; for
The Fleire was written and published one year anterior to the
Masque by Jonson, and twenty-one to The Witts by Dave-
nant ; yet both these authors speak of the usage as being still
in fashion at the time in which they wrote.' — Strutt, Dress
and Habits of England i. 302—3. Strutt is wrong in saying
that The Fleire was published in 161S ; it appeared in quarto
in 1607. This error, however, does not invalidate his gena^I
contention. Cf. Dekker, Shoemaker's Holiday {Wks. i. 65) :
'Firke (to servant). Blew coate be quiet, weele giue you a
new liuerie else'; Greene, Tu Qmo^iw (HazUtt's Dodsley 11.
288) : 'A man in a blue coat may have some colour for his
knavery'; Ward {London Spy, April, 1699, p. 11): "The
Honourable Court, I observed, were chiefly attended by Fel-
lows in Blew Coats, and Women in Blew-Aprons '; Case is Alt.
I. 2, p. 318: "Swounds, it has begun a serving-man's speech,
ever since I belonged to the blue order.'
2.4.13. may weaie motley at the reeres end. GifFordob-
n,g,i,7c.dbyG00'^lc *
Explanaiory Notes 331
serves that servants were stripped of their liveries by way of
punishment for notorious faults, and compelled to appear in a
parti-colored coat, the common habiliment of domestic fools.
2. 4. 18. Veni. vidi, vici, I may say with Captayne Caesar.
' Rosalind talks of "Caesar's thrasonical brag of / came, saw,
and overcame" {As You Like It 3. 2. 34). "He (Leicester)
was sent governor by the queene " {says Nauaton) " to the re-
volted states of Holland, where we reade not of his wonders,
for they say, he had more of Mercury than be had of Mars,
and that his devise might have beene without prejudice to
the great Caesar, Veni, vidi, redivi " (Secret History of the Court
of James I, ed. Scott, i8ir, 2. 8q, note.'— Wh. This clause
takes the place of Rex Regum in Q {Rev. 17. 14, Vulg.). The
phrase is used here as a kind of boast. Cf. Case is Alt. 3. 2,
p. 351 : ' King of kings, I'll not be rude to thee.' Secula
seadorum is used in hght vein also in Q 2. 3. 219. Greater
irreverence toward holy things is one of the characteristics of
Q. See Introduction, pp. liiff.
2. 4. 21. Lance-knights. See Glossary. 'Lansquenet, a
Lance-knight, or Germane footman.'— Cotgrave. Wheatley
remarks that Brainworm made himself up as a very fair
sample of the characters that haunted Moorfields, and quotes
the following remark from Eastward Hoe i. i. 170: 'Mee
thinkes I see thee already walking in Moorefieli^ without
a cloake, with halfe a hat, without a band, a doublet with
three buttons, without a girdle, a hose with one point, and
no garter, with a cudgell under thine arme, borrowing and
bc^:ging threepence.'
2. 4. 35. A iet ringP ob, the poesie. ' Great virtues were
attributed to jet in former times, and beads made of that
material were specially sought after. ... It was formerly the
custom to engrave mottoes or posies upon wedding, betrothal,
and other rings, and books of these mottoes were published.
One of these. Love's Garland, appeared in 1624, and again in
1674. In the latter year was also published Cupid's Posies
for Bracelets, Handkerchers, and Rings, with Scarfes, doves,
and other things .... Hamlet {Ham. 3. 2. 162) asks respecting
the three doggerel rhymes spoken by the player ; " Is this a
n,g,i,7cd by Google
332 Euery Man in kis Humour
prologue or the posy o( a ring? "'—Wh. Cf. Cynlh. Rev. 4. i,
p. 302 : ' Please you, sir, to accept this poor ruby in a ring,
sir. The poesy is of my own device. Let this bfush for me, sir."
2. 4. 57. in all the late wanes of Bohemia, Hnngaria, Dal-
matia, Poland. ' During the quarter of a century preceding
the production of this play there had been continued fighting
in these countries. At the beginning of the reign of Amu-
rath III. (Sultan from 1574 to 1595) the Turks exerted great
power in Europe, and in their long contest with Austria they
at first obtained many brilliant successes ; but afterwards they
were forced to evacuate Hungary and Transylvania, and were
were only saved from destruction by the action of the Poles.
The wars were continued during the reign of Mohammed III.,
who-succeeded Amurath in 1595-'— Wh. See also Cambridge
Modem History 3. 91—103, 117— 139.
2. 4. 62. the taUng d Alepo, ... the leliele ol Vienna.
The allusion here is probably to the taking of Aleppo by the
Turks in 1516. This was a disastrous battle, as a result of
which Syria was brought again under the authority of Con-
stantinople, to remain so until the present day. See Nicholstm,
Ort the Dates 0/ the Two Versions of Every Man In (Aniiquary
6. 109), and Camb. Mod. Hist. i. 91. The relief of Vienna
occurred in 1529. Vienna had been besi^ed by the Turks
under the leadership of Solyman, but the courage of the
citizens, aided by excellent artillery, was able to repel the
attacks, and on October 25, 1529, Solyman raised the si^e.
See Camb. Mod. Hist. i. 97—98; 2. 61, 207.
2. 4. 62. I hane beme at Haiseilles. Naplee, and the Adiia-
tiqoe Eolb. The allusion to Marseilles may have reference to
the Duke of Bourbon's unsuccessful si^e upon Marseilles in
1524, at the behest of Henry VIII ; see Cami. Mod. Hist.
2. 49, 423. An important si^e upon Naples by the Genoese
fleet, reinforced by the Venetians, took place in 1528, and may
have been the engagement alluded to here. See Nicholson
(Antiquary 6. 109}, and Camb. Mod, Hist. 2. 58 fi. Adriaiique
Gulfe is substituted for America of Q. It is not so easy to
lind a definite circumstance to fit this allusion. Nicholson
suggests {Antiquary 6. 109) that this refers to the battle of
n,g,i,7cd by Google
Explanatory NoUs 333
Lepanto, fought in 1571. This was the famous battle of the
Triide Alliance of Spanish, Venetian, and Papal forces against
the Turks; see Camb. Mod. Hisl. 3. I34ff, Jonson alludes
to the battle of Lepanto in Cynih. Rev. 4. i, p. 275. These
dates are of course impossible, unless more than normal length
of life had been granted, to Brainwonn. They evidently are
not to be taken seriously, and Brainworm's blundeiing was
doubtless supposed to add to the fun of the play. Nicholson
says in this conoectiou, in the article cited above (p. 109) :
' The cause of these impossible dates — dates impossible to a
fouttcMi years' service-man — is in this, that Brainworm was
a mere novice, and an extempore one, not at lying, but at
military lying. Bobadil, on the contrary, lived by his lies
and bombast, and had his tales carefully prepared.'
2.4.78. itshaUhsneanhietioabbnd. The use of velvet
scabbards is included in Stubbes' catalogue of abuses in Eng-
land. See Anatomy of Abuses, p. 62 : ' Least anythyng should
be wantyng to set forthe their pride, their scaberds and
sheathes of Veluet or the like ; for leather though it be
more proffitable and as seemely, yet wil it not carie such a
porte or countoiance like the other.'
2. 4. 81. 'tis A most Ptm Toledo. 'The swordmakers of
Toledo were a company of European importance, and even
the mere sellers of daggers and blades were privil^ed citizens,
whom the very sovereigns and tu;chbis hop^espected. Toled-
an steel was renowned in France and England, as well as
in Italy. On his way to captivity in Madrid, Francis of
France cried, seeing beardless boys with swords at their sides,
"Oh t most happy Spain, that brings forth and brings up
men already armed." The steel used by the apaderos of
Toledo came from the iron mines of Mondragon in the Basque
provinces, palomario explains its pecuUar excellence by the
virtues of the sand and water of the Tagus. When the metal
was red-hot, it was cov^ed with sand, and, the blade then
formed, it was placed in a hollow of sixty centimetres, and
red-hot, was plunged into a wooden tank fullof Tagus water —
The decline of Toledan steel is traced to the introduction of
French costume ; and though attempts have been made to
n,g,i,7cd by Google
334 Euery Man in fus Humow
revive it, the old art, in all its unrivalled beauty, bas forever
vanished.* — Lynch, Toledo, p. 148,
2. 4. 83. I lud rather it were a Qpaniaid. difiord remarks
that Master Stephen had heard of the excellence of the Spanish
blades, though his proficiency in geography did not enable htm
to discover in what country Toledo was situated,
2. 4. 89. walke vhh a codgell, like Higgin-Bottom. This
allusion still defies explanation. Gifiord writes : 'I have no
knowledge of this Higginbottom. It appears from the Earl
of ^irewsbury's Letters (see Lodge's lUustratiom), that a
country fellow of that name had been sotnewbat active in
exciting disturbances among his lordship's tenants, and had
been summoned more than once before the privy council, to
answer the charge. But he was probably too early for master
Stephen 's acquaintance ; unless tfie allusion be to some picture
of him.' Gayley comments: 'Probably any citizen-ancestor
of Horace and James Wilson's hero.' GiSord quotes the
following from Eastward Ho 1. 1. 170 : 'Meethinkes I see tiiee
already walking in Moorefields .... with a cudgell under thine
arme borrowing and begging three-pence." This would sug-
gest that a cudgel was a part of the accoutrement of a beggar ' .
2. 5. 1. I oannot loose the thought, ret, oi this letter. This
soliloquy is expanded and altogethei altered from Q. It is
one of the best single speeches in F, and is in every way im-
proved upon its original form. Its dignified blank verse b
superior to the stilted rh>'med couplets of Q. The train of
Old Knowell's thought is such as woukl be natural to a man
in his situation. The difference between the moral state of
the younger generation and that to which he had been bred
up as a youth is graphically described, and the vices of the
former are concretely and forcibly presented. In Q, on the
other hand, the speech is less appropriate. A father, deeply
troubled over the excesses of his son, does not indulge in
philosophical speculation over the part reason plays in nian's
* Cf. also Horace Smith's A Tata of Drury Lane from R*-
jecttd Addrtssai (Biyaat's Library of Foelry and Song). Higgin-
bottom is here pictured as a valiant fireman, ' foreman of the
British gang ', equipped TCith a cane, ' hia men to bang '.
Higginbottom loses his life after inciting his men to br&very.
n,g,i,7cd by Google
Explanatory Notes 335
make-up, not bewail the fact that some like proud Arch-
traitors ' rebel against their ' tiege Lord Reason ', but rather
bemoans specific evid^ces of intemperance and dissipation.
The one line of the earlier passage which seemed to ofier prom-
ise to Jonson, when he became his own editor, was that where
Old Lorenzo is led to meditate 'vpon the difference of mans
estate.' This idea is developed to excellent advantage in F.
2. 5. 5. When I was jrong, etc. This passage, as Gifbrd
points out, is reminiscent of Juvenal's thirteenth satire, 11. 54 S. :
' Credebant quo grande Befas, ' etc. Gifford's metrical version
of the passagecis as follows:
Vice was a phcenix in that bhssful time.
Believed, but never seen: and 'twas a crime.
Worthy of death, such awe did years engage.
If manhood rose not up to reverend age.
And ^outh to manhood, though a larger hoard
Of hips and acoms graced the stripling's board.
Then, then was age so venerable thought.
That every day increase of honor brought ;
And children, m the springing down, revered
The sacred promise of a hoary beard I
It suggests also parallels in Plautine comedy : the moralizing
of Old Philto in Trinummus runs in this vein. Cf . 2. 2. 20. 25 :
'Nam hi mores maiorum laudant, eosdem lutitant quos con-
laudant', etc. 'For these men praise the manners of our an-
cestors, and defile those same persons whom they commend.
With regard, Iken, to these pursuits, I enjoin you not to taint
your disposition with them. Live after my fashion, and
according to the ancient manners ; what I am prescribing to
you, the same do you remember and practise. I have no
patience with > these fashionable manners, upsetting pre-
conceived notions, with which good men are now disgracing
themselves. If you follow these my injunctions to you, many
a good maxim will take root in your Inreast' (tr, Riley 1. 16).
2. 5. 14. Nay, would oonelres w«re not ttie tirst, etwn pa-
nnts, etc. Gifiord was the first to notice that this is taken
from Quintilian's Institutes of Eloquence r. 2.6— 8: 'Would
to Heaven, that we ourselves were not the chief instruments
in corrupting the morals of our children ! No sooner are they
bom, than we nervate them by fondness ; for that delicacy
n,g,i,7cd by Google
336 Every Mom in his Humour
of education, which we term indulgence, breaks down every
power both of body and mind. When the child stammers
about in costly robes, what will not the man aspire to ?
The first words he leams to lisp are his purple or his crimso*
cloak ; and we pay more attention to his palate than to his
pronunciation . Before they leave their go-carts they grow up
to be lads ; and never do they put a foot to the groiuid, but
when they are swung and suspended in leading-strings by
their attendants. V/hea they say anything immodest, we
feel sensible [Measure. We kiss and fondJe them for expressxm
that would put even an e&eminate vl<g>^'im out of counte-
nance ; and where is the mighty wonder in their being such
early proficients in luxury ; for all they leam and all they
hear is from ourselves ? They are witnesses of our lewdest,
our most infamous, amours ; ouf dining-rooms ring with ob-
scene songs ; and all our entertainments are mix'd with in-
decent objects. This, at first, becomes habit, and habit grows
into nature. The poor infants leam those things before they
Iedow them to be vices ; and thus melting into luxury and
dissolved in efieminacy, they carry into schools their lewdness,
instead of catching it there tr.'. (tr. Guthrie.)
2. 5. 46. VsnetianMvtaniu. Thecourtesansof Venice were
famous for their beauty and loose Uving. See a desa iption of
them in Molmenti, Venice 2. 93—7. Cf. Volp. 2 i, p. 197 :
Your lady
Ijes here in Venice, for intelligence
Of tires and fashions, and behavior
Among the courtezans.
2. 5. 47. tttfl gtammu ol cheatiDg. Gifiord remarks that
Horace was probably in Jonson's mind here. Wheatley sug-
gests his first epistle as the direct source. Cf. Ep. (ed.
Wickham) 1. 1. 53 — ^4:
O cives, cives, quaerenda pecunia primum est ;
Virtus post nummos.
And see 1. 1. 65 — 6 :
Isne tibi melius suadet qui. rem facias, rem.
Si possis recte, si non, quocumque modo rem.
2. 5. 51 Neither hane I Drat snailw etc. Whalley noticed
that this passage closely follows the sentiments of Juvenal in
by Google
Explanatory Notes 337
Sat. i4. 6ff. : 'Nee melius de se cuiquam sperare propinquo,
etc' Gifionl riders the passage as follows :
Nor does that iniant fairer hopes inspire.
Who, trained by the gray epicure, his sire.
Has learned to pickle mushrooms, and, like him,
To souse the becaficos, till they swim I
3.5.81. the king d heanen shall pay yon, and I aball rest
thanUoU. This use of shall would be a mistake in modem
English, but shall was used by the Elizabethan authors with
all three persons to denote inffvitable futurity without re-
ference to will (desire). Cf . Abbott, § 315, and Franz, § 611.
2.5.91. I had watk'i tiie hiUs. See hilt in Glossary.
Cf. Every Man In 3. 1. 175 : '1 could eate the very hilts' ;
ibid. 4. 2. Ill : ' He run my rapier to the hilts in you ' ; Epic.
4. 2, p. 443 : "And he wills you to fasten it [a sword] against
a wall, and break your head in some few several places against
the hilts.' Henry {ed. Epic, p. 252) adds the following in-
teresting note and parallels to this passage : ' The plural is
used as conmwnly as the singular, a fact concerning which
Mr. Deighton writes : "This word is commonly explained in
dictionaries as the handle of the sword . It is, however, not the
handle itself, but the protection of the handle. . . . Formerly
it consisted of a steel bar projecting at right angles to the
blade on each side. This form of the two transverse pro-
jections explains the use of the plural.'" Jul. Ctss. 5. 3.43:
■Here, take thou the hilts'; ibid. 5.5.28; 'Hold thou my
sword-hilts, whilst I run on it'; I Hen, IV 2.4.230: 'Seven,
by these hilts, or I am a villain else'; Dekker, Witch of Ed-
monton 2. i, p. 373 :
Mother Saw. Thou art in love with her ?
Cuddy. Up to the very hilts. Mother.
2. 5. 96. mdid-base. It was a common practice in Jon-
son's time to combine two adjectives, the first being a kind
of adverb qualifying the second. Cf. Abbott, g 2 ; Love's
Labor's Lost a. r. 107: 'I am too sudden-bold'; i Hen. IV
5. 1.90: 'More active-valiant or more valiant-young.' This
type of adjective is fairly frequent in Jonson. The following
n,g,i,7cd by Google
338 ^Y^ Man in hit Humow
are typical: Case is Alt. i. 2, p. 313: 'cold-coDceited';
p. 379 : ' fair-feather'd, red-breasted ' ; New Inn 1. 1, p. 311 :
'quick-warming'; p. 317: 'round-grown'; p. 320: 'cock-
btain'd'; p. 325: 'open-handed'; p. 328: 'strait-laced';
p. 332: 'well-spoken'; p. 335: '^-blown'; p. 337: 'li^t-
sldpping'; p. 377; 'weU-trinmi'd'.
2. 5. 107. As dofii the beetle, on flw dung due bteedi In.
F substitutes be^e for scarabe here, probably to employ a
simpto' or more familiar expression. See scarabe in Glossary.
Cf. Greene's Planetomachia [Wks. 5. 16) : '. . . The base minds
of such as with the Scarab Flye, delighteth only to live in
dung and mire.' Hathaway suggests in his edition of The
Alchemist, p. 256, that the belief alluded to here perhaps
accounts for the use of scarabe as an opprobrious term. Cf.
Alch. 1. 1, p. 15 : 'No, you scarab. 111 thunder you in pieces' ;
ibid. 1. 1, p. 15 : 'Thou vermin, have 1 ta'en thee out of dung,
So poor, so wretched, when no living thing Would keep thee
company, but a spider, or worse ' ; Poet. 4. 6, p. 465 : 'They
are the moths and scarabs of a state.'
2. 5. 142. clean oat ol looe. See Glossary. Cf. Franz,
§ 372, and a similar use of the word in this play, 3. 3. 43.
2. 5. 144. mmket^esL Wheatley quotes the following
from Markham's Souldier's Exercise, p. 3: 'Musquetieis. —
Lastly for their right hands they shall have Rests of A^-
wood, or other rough wood, with iron pikes in the neatber
end and halfe hoopes of iron about to rest the musquet on,
and double strong stringes fastened necre thereunto, to hang
about the arme of the souldier when at any time hee shall
have occasion to traile the same; and the length of these
rests shall be sutable to the stature of the man, bearing his
piece so, as hee may discharge it without stooping.'
2. 5. 145. mnstotB at ICle-end. Mile-end was famous as
a rendezvous for troops. Wat Tyler assembled his forces here
in preparation for his insurrection. See Wheatley and Cun-
ningham, London Past and Present 2. 541.
2. 5. 146. let ttie wwld ttiinke nie a 1)ad ooonterilBlt, if I
oannot gloe him the slip. Slip is used here in puiming alhision
to its sense of a counterfeit coin. Wheatley quotes the follow-
n,g,i,7cd by Google
Explanatory Notes 339
ing extract from Jonson's EpisUe to Master Artkur Squib.
{Wks. 8, 413) as an illustration of the synonymous use of
counterfeit and slip:
And as within your office you do take
No piece of money, but you know, or make
Inquiry of the worth ; so must we do.
First weigh a friend, then touch and try him too :
For there are many slips and coimterfeits.
Cf . also : Rom. and Jul. 2. 4. 49 ; 'What counterfeit did I give
you ? Mer. The sUp, sir, the shp, can you not conceive' ;
Ifiddkton, No Wit Like Woman's 3, 1. 83 : 'You have given
me a ninepence here, and I'll give you the shp for't.'
ACT III
3. 1. 7. I esteme it so maoh out ol the nmne-aliiiie of re-
plltltion, etc. The introduction of this artificial figure of
speech in F makes the language more in keeping with Boba-
dill's character than that found in Q.
3. 1. 9. I miut heara no ill mndu ot my brotiier. This
defence of Downright by his Irotber, together with that in
line 12, is absent in Q ; their presence here deepens the psycho-
logical truth and realism of the conversation.
3. 1. 12. laces abont. 'A miUtary word of command,
equivalent to wheel. ... In the Soldiers' Accidence, the
officers are directed to give the word of command in these
tenns, used, says the author, both here and in the Netherlands.
Faces to the right.
Faces to the Irft.
— Nares' Glossary i. 291.
Cf . Stap. of News 4. i, p. 265 :
'Or when my muster-master
Talks of his tactics, and his ranks and files.
His bringers-up. his leaders-on, and cries
Faces itioM< to the right hand, the left.
Now, as you were.'
n,g,i,7cd by Google
340 Entry Man in his Humour
3. 1. 15. by S. Gsoige. See note on S*. Ctorge, 1.4. 85.
3.1.17. genttoman oUaibion. Q omits the last two words.
In uttering them in F, Matthew more clearly reveals his stand-
ard for judging men, and hb character as a gull and fop.
3. 1. 19. qnoi seqniu amanit Ivpitar. Thisisfrom Virgil's
Sneid 6. 129— 131, as Wheatley points out:
Pauci, quos aequus amavit
Juppiter, aut ardens evexit ad sethera virtus,
Dis geniti potuere.
vEneas has just prayed to the Cumxan Sibyl that he may be
granted a visit to his father Anchises. He is told in reply
that the descent to Avemus is easy, but the return to the
upper air difficult and perilous. Only a few have accomplished
it, these of the kind described in tiie quotation, Cf. Cynlh.
Rev. 5. I, p. 305:
Whom equal Jove hath loued.
3. 1. 21. No anestton, yon doe. or yon doe not sli. I. e..
it makes no difference whether you do or not.
3. 1. 23. I dull looe Apollo, and the mad Titaiplan gittaa
the MtN. The Muses are signified by the mad Thespian girh.
'Pienis, a Macedonian, is said to have been the first who
introduced the worship of the nine Muses, from Thrace to
Thespiae, at the foot of mount Helicon (Paus. 9. 28 §2); see
. Sna^, Did. of Greek and Roman Biog. 2, 1126. The Homeric
bards derived their art of song either from ApoUo or the Muses ;
see ibid. i. 231. Hence it was appropriate for Well-bred,
as a devotee of poetry, to render homage to the same source
of inspiration. Wheatley observes that mad here probably
means inspired with the afflatus of the gods. He cites as
illustrations in point the following : M. N. Dream 5. 1. 12 :
'The poet's eye, in a fine frenzy rolling*; Seneca, Tranq. An.
{Wks., ed. Lemaire, 1. 15. 346 :) 'Nullum magnum ingenium
sine mixtura dementis fuit'; Dryden, Absalom and Achi-
tophei I. 163 : 'Great wits are sure to madness near allied,'
One might also add from M. N. Dream 5- 1. 7 : 'The lunatic,
the lover, and the poet Are of imagination all compact,'
n,g,i,7c.dbyG00t^lc
Exftanatory Notes 341
3. 1. 25. my daare torie. Well-1»-ed here jocosely likens
Ned Knowell to one of the .dread goddesses sent from Tartarus
to avenge wrong and punish crime. Furie is substituted for
villain of Q, probably to make it more in keeping with the
previous references to mytholi^y.
3.1.26. ttwn liee the two. Q reads^)' fu-o .which may
very well have been a mistake corrected in F,
3. 1. 32. nuttdi it in all Ilinle, or Symmadm e^stles.
Syminachus was a famous Roman letter-writer who imitated
Pliny. His contemporaries admired these letters for their
florid style, but they are now regarded as superficial and ted-
ious. See TeufEel and Schwab, Roman Literature 2. 379—384.
3. 1. 35. But I marie irtiat camell it was, etc. The allusion
seems to be to the proverbial stupidity of the camel. See
CasseU's Natural History 3. 74—5.
3. 1. 55. hang-br's. See Glossary. Cf. Case Is Alt. 3. 3,
p. 353 : '. . . But this hang-by here will . . . Discover us.'
Q reads Zanies here. See Glossary. Cf. Cynth. Rev. 2. i,
p. 248: 'The other gallant is his Zany.'
3. 1. 61. yooi miuiqpe. Q reads our Musique. Your
seems more natural in view of Wellbred's previous remark
3. 1. 66. fcxa Beateh. Cf. the time in Q. In F the mean-
ing seems to be that yotmg Knowell refuses to discuss Ste-
phoi's peculiarities, and leaves him wholly at Wellbred's
disposal, for him to investigate as he chooses. This is plainer
than Q, which apparently says that time will reveal to Pro-
spero the sort of man Stepbano is,
3. 1. 76. Sir. I mturt tell 70a this, etc. Cf . Q. The rek^a-
tion of 'you may embrace it, at what height of fauour you
I^ease ' to a passage in parenthesis, helps to make the sentence
clearer. The omission of the oath, 'by the host "of Egypt',
and the substitution for it 'for Mr. Wel-bred's sake,', makes
Bobadill's condescension more evident. The addition of ' I
doe communicate with you ' explicitly announces the favor
bestowed upon Stephen.
3. 1. 81. And I lewWi sir. etc. This and the following
speech are added in F. It is additions like these which help
to give finish and verisimilitude to the dialogue of F. Q often
n,g,i,7c.dbyG00'^lc
343 Every Man in his Humour
seems disjointed and unconnected. At ^ch times F not in-
frequently fills out the conveisation, and renders the general
situation plainer.
3. 1. 84. I am mightily giom' to msIaDdudr. Judson (ed.
Cynth. Rev., p. 188) notes that Jonson's many references to mel-
ancholy show the de^ee to which that absurd affectation was
practiced. Cf. the following : Cynth. Rev. 2. i, p. 246 : Amor-
phus recommends playing with some string of his band to
Asotus as 'a most quaint kind of melancholy'; Epic. 3.2.
p. 370: 'Daw. m be very melancholy, i' faith'; Every Man
Out 5. 4, p. z8i : 'Sog. Ay, and bring up supper ; for I am so
melancholy.' Other dramatists ridicule this practice. Cf.
King John 4. i. I4£f. :
Arth. Methinks no body should be sad but I :
Yet, I remember, when I was in France,
Young gentlemen would be as sad as night,
Only for wantonness.
Case is Alt. I. 2, p. 322 : 'But, as my looks appear, such is my
spirit. Drown 'd up with confluence of grief and melancholy'
3. 1. 85. ronr true melaDohoIy, bnedf yma pertect bie
wit, til. Whalley writes: 'The reason assigned, its (me-
lancholy) being the physical cause of wit, which is as old as
Aristotle himself, was hkewise generally received by those
who had no other pretensions to genius.' GifEord cites the
following passage as the probable one Whalley had in mind :
Aia ri xavttq oOoi xtptrtol ytyovaaiv ivSptq ^ xtnA ^tXoOO-
^lav, y xoi.tTix^, 5 xol^aiv, ^ xixvaq tpalwnrtai fitiMf-
XoXixol ovtt<i .... Prob. 30. i.
3. 1. 88. onetllowyon, Cf. write you of Q, and see Intro-
duction, p. xlviii. yoM is an 'ethical dative.' Cf. Abbott,
§ 220, and Franz, §294. See alsoMaetzner.fng/iscAeCrmt-
maiik 2. 227.
3. 1. 92. better ttioi in meaanie. Q reads as wtil as in
measure. The new reading heightens the ridicule expressed
by Knowell for Stephen.
3. 1. 96. bane jon a atoole tlieie, to lie melancbolj' npon.
Cf. Hit dose stooie oi Q. The 'humor' idea is better empha-
sized in F.
by Google
Explanatory Nates 343
3. 1. 100. WooUtlte qwrkss would Undle once, and beoonu
a Um amongBt "hxm. Cf. Q, and see Introduction, p. xlviii.
The addition of a-mongst 'hem is an improvement, since this
makes it clear that it is the verses which are to be burned.
3. z. 108. ff. Uarkea Day. This is April 25. It was a great
fast-day in England daring the rule of the Romish church.
Various superstitious practices are connected with this day.
On St. Mark's Eve it is customary for the common peo|Je
in Yorkshire to sit and watch in the chorch-porch from eleven
o'clock at night until one in the morning. The third year
they are supposed to see the ghosts of all who are to die the
next year pass by into the church. Infants and young child-
ren, not yet able to walk, are said to roll in on the pavement.
It is reported that in North Wales no farmer dare hold his
team on St. Mark's Day, because,as they believe, one man's
team that did work that day was marked with the loss of an
ox. Other {^actices of similar nature are reported as pre-
vailing on this day. See Brand, Popular Anti([uitiest. 192 ff. ;
Hone, Every Day Book i. 261 ff. ; Chambers, Book of Days
3. 1. III. at the Imleag'rins ol StrigcHumn. 'Or the city
Graan in Hungary, which was retaken from the Turks, in the
year 1597. ... It should be observed, that the inroads,
which the Turks made in the empaor's dominions, had made
it fashionable to go a volunteering in bis service ; and we &nd
that Thomas Lord Arundel of Wardour was created at this
very time a count of the Empire, as a reward of his signal
valour ; and because in forcing the Water-tower near Stri-
gonnun, he took from the Turks their banner with his own
hand'. — W. WhaUey's date is wrong; it should he 1595.
' Gran (Magyar, Esztergam) which is a town in Hungary on
an elevatk>n on the right bank of the Danube, twenty-five
miles northwest of Pesth. It is one of the oldest towns in
the country, and has undergone constant assaults and sieges.
It has also been known by the following names : — Stregonia,
Str^on, Stregan, St^ran'.— Wh. In the letters of Bus-
becq {ed. Forstw 8t Daniell i. 84), one reads that Gran
consists of a fort situated on a hill, at the foot of which flows
n,g,i,7cd by Google
344 Euery Man in Ms Humour
the Danube, and a town bard by on the plain.' The ktss of
Gran to the Turks is described in i. 239—40 of the same wwk.
The reference to the honor paid Arundel by Rudolph for his
valiant services, and Queen Elizabeth's attendant displeasure,
may be found in the Syllabus of Rymer's Feedera 2. 824—5.
The actual letters which passed between the two, with the
Queen's order that Arundel give up the title of count of the
Empire, and Rudolph's surprise and plea for Arundel's re-
statement to favor, are recorded in Rymer's Feedera 16. 284,
289, 301. A short accotmt of Arundel's exploits and im-
prisonments is included in the Secret History of the Court of
James the First i. 81, n. Arundel's apology, upon bis confine-
ment for accepting the honor of comes imperii without the
Queen's leave, is pablished in Peck's Desiderata Curicsa 2.
278 ft. Its temptir may be su^ested by its closing sentence
(p. 283) : ' As for myself I do sufficiently knowe, that imfwison-
meatVidherTia.ie&tieaseaotaccideHiiainseparabilia. Whae-
fore I hope, after this purgatorie, to enjoye the smilinge light
of those double sunnes-beams, in whose gracious acceptance
stands the totall summe of my earthlie happiness. My ea-
largement would be deare to mee, but not deare in respect
of the blissful! favor of the dearest. Wherefore I doe againe
and againe desire your lordship to intreate for the one, and
importune for the other.' Note the substitution in F of
Strigonium lor GhibeUelto of Q, and the phrase 'what doe you
call it ' for Tortosa, and see Introduction, pp. lix, bdv, Ixv, for
further comments upon these names.
3. 1. 128. 'TwM pittie, 70a had not tw; a oats, udyoor
owne. The statement that a cat has nine hves is an English
proverbial expression, and of frequent occurrence in literature.
In Ray's Proverbs, p. 108, after the proverb, 'Care will kill
a cat,' one reads : 'And yet a cat is said to have nine lives.
Cura facit cams.' It is recoiled also in Hazlitt's En^ish
Proverbs and Proverbial Phrases, p. 5 : 'A cat has nine lives,
and a woman has nine cats' Uves.' The following are typical
examples from literature : Middleton, Blurt, Ma^-CotistaHe
1. 287 : 'They have nine lives apiece (like a woman), and they
will make it up ten lives, if they and 1 fall a-scratching ' ; Rom.
by Google
Explanatory Notes 345
and Jul. 3. 1. 79 • ' Ty. What wouldst thou have with me ?
Mer. Good Kbig of cats, nothing but one of your nine lives ' ;
Every Man Out 3. i, p. 90: 'Your cat has nine lives, and your
wife has but one.'
3. 1. £34. Ton mtut bring me to the nu^ UnL This
speech is more effective when put directly in the mouth of
young Knowell than when uttered by Wellbred, as in Q.
GifEord adds a stage-direction, aside, after the speech, and it
was probably so uttered.
3. 1. 135. theyhadpluitedineetlueedenii-oahrariiigi. Mee
is an ethical dative here. Cf. note on I, 4. 75, Abbott, §220,
and Franz, g 294. Abbott cites this particular quotation, re-
marking that the verb is perhaps used redexively, though
this would seem to be caused by the speaker's intense desire
to call attrition to himself.
3. 1. 137. aa we were to gtne on. Gitte on is hardly an
improvement over the more literal ascend of Q. So also in
the following tine, courage seems a more virile word than marke.
3. 1. 141. then sinsle armei. This sounds less academic
and befits a military gentleman better than the expression,
this instrument, of Q.
3. 1. 149. Ton talke tji Hoiglar. Ezcalilmr, Dmindana, Of
flO. Morglay was the sword presented to Sir Bevis of Hamp-
ton by Josyan. See Sir Beves of Hamtoun (ed. KSlbing),
p. 46:
Than gave him that ffeire may
His good sword Morglay ;
There was none better vnder the son.
Many a lond with that was won.
Excalibur is familiar as the famous sword qf King Arthur,
given him one summer noon by an arm, which 'rose up from
out the bosom of the lake, clothed in white samite, mystic,
wonderful, holding the sword ' (seeTennyson'sMorte D' Arthur).
Durindana (variously called Durendal, Durandal, Durenda,
Durindana) is no less renowned as the sword of Roland, who
thus apostrophizes it at his death :
O good my sword, how bright and pure I Against
The sun what flailing light thy blade reflects 1
n,g,i,7cd by Google
346 Euery Man in his Humom
When Carle passed through the valley of Moriane,
The God of Heaven by his Angel sent
Command that he should give thee to a Count,
A valiant captain ; it was then the great
And gentle King did gird thee to my side. —
, . , With thee l conquered all the lands and reabns
Which Carle, the hoary-bearded monarch, rules.
Now for this sword I mourn. . , , Far better die
Than in the bands of Pagans kt it falll
May God, Our Fath», save sweet France this shame I '
(tr. Rabillon, p. 122).
See Birke's Ltterarische Anspidut^eti in den Werken Bat
Jonsons. p. 5, under heading Konig Arthur und sein Krai.
for a list of references in Jonson's works to the Arthurian
legend.
3. 1. 151. laUed ot 'ham. Bobadill's skepticism r^arding
the renown of the mythical blades is expressed more fittingly
in the word fabled than in reported of Q.
3. z. 166. now I look oo't, better. This conmient is not
found in Q. Matthew has agreed a few lines before that the
blade is 'a most perfect Teredo.' This additional explanation
reconciles the contradiction in his own mind, but really serves
to emphasize his character of city'^U.
Q2. 3. 159. Weill vJUnotimt it Tp, The wrf is omitted
in F, and the threatened vengeance upon Brainworm follows
more naturally as a consequence.
3. 1. 175. oonnle-catching raskalL See Glossary. A
quaint description of the wiles of the coney-catchers may be
found in The Rogues*and Vagabonds of Shakspere's Youth
(ed. Viles & Fumivall, p. 99 ft,}. The introductory page to
the chapter on coney-catchers suggests its contents :
■To the gentle Readers health.
Gentle reader, as there hath beene diuers bookes set forth, as
warnings for ail men to shun the craftie coossening sleights
of these both men and women that haue teaimed themselues
Conny<atchers ; so amongst the rest, bestow the reading
ouer of this booke, wherin thou shaft find the ground-worke
of Conny-catching, with the manner of their canting speech,
how they call all things in their language, the horrible coossen-
n,g,i,7cd by Google
ExplttHOtory Notes 347
ing of all these loose varlots, and the names of them in their
senerall degrees. All these playing their coossenings in their
kinde are here set downe, which neuer yet were disclosed in
anie booke of Connyotching.' See also Greene's Art of
Conny-Catching.
3. 1. 177. yoa bane an ostridi stomacb. The digestive
powers of the ostrich are proverbial. ' In regard to food, the
ostrich may be said to be omnivorous. Seeds, berries, fruit,
grass, leaves, beetles, locusts, small birds and animals, snakes
and lizards, are all greedily devoured ; while thp trituration of
the food is aided by quantities of sand, stones, grit, bones,
and even pieces of metal, which are swallowed indiscrimi-
nately as opportunity occurs. So indifferent, indeed, does
the bird seem to what is palatable or nourishing, that it is
said to feed upon whatever it can swallow. ... I have seen
a tame one snatch a bunch of keys attached to a steel ring
from a man, and swallow them with the greatest gusto, and
I have given young birds, when about the size of turkeys
a few small nails (tacks) occasionally, which they seemed to
relish amazingly, and would follow me about for more, so
that it would appear essential for them.' — Mosenthal and
Harting, Ostriches and Ostrich Farming, pp. 38, 196.
Note the following allusions to the ostrich : MuSett, Health's
Improvement, chap. 28: 'The ostrich, which devonreth iron
and pap together, and refuseth no meat ' ; Cogan, Haven of
Health, pp. 31 and 128 : 'But I leave it to Rustics, who have
stomachs Uke Ostriches, that can digest hard iron ' ; 2 Henry VI
4. 10. 27 : 'But I'll make thee eat iron Uke an ostrich, and
swallow my sword, like a great pin, ere thou and I part';
Heath, Occasional Poems, p. 24 :
They have keen Estridge stomachs, and well digest
Both Iron and Lead, as a Dog will a breast
Of Mutton.
3. 2. II. Doe yon confesse it See note on 3. i. Si.
3. a. 18. yet, by his leaoe, etc. Cf. note on 3. i. 81.
3. 2. 24. a dmmine; lor enety one may play vpoD him.
This passage is reminiscent, as Wheatley siiggests, of Hamlet's
n,g,i,7cd by Google
348 Euery Man in his Humour
rebuke to Guild^stem {Ham. 3. 2. 386) : ' S*blood, do you
think I am easier to be |dayed on than a pipe ? Call me what
instrument you will, though you can fret me, yet you cannot
play upon me.' Note that in Q Barbers virginals is used
mstead of drumute. See Glossary. A cittern was the more
usual instrument for amusement in the barber's shop. Lar-
wood and Hotten (History of Sign Boards, p. 343) quote from
Tom Brown in his Amusements for the Meridian of London; 'A
cittern and a barber is as natural as milk to a calf or the
bears to be attended by a Bagpiper.' Cf. Epic. 3. 2, p. 397 :
Mor. That cursed barber 1
Tme. Yes faith, a cursed wretch indeed, sir.
Mor. I have married his cittern, that's common to all men .
Gifbrd comments here upon the custom of iMt>viding musi-
cal instruments in barber shops, adding that in those days of
lovelocks, and beards of the most fantastic cuts, some diveisioii
for those waiting was necessary. He cites the following qoo-
tations : Middleton, Major of Quinborough 3. 3 : 'I gave that
barber a fustian suit, and twice redeemed his cittran ' ; Dekkei,
2 Honest Whore (ed. Rhys, Mermaid Series, 5. 2. 275) : 'A
barber's cittern for every serving-man to [day upon ' ; Defence
of the Female Sex : '... His inventory can no more be compleat
without two or three cemarkablesignatures, than an apothe-
caries shop without a tortoise and a crocodile, or a barber's
without a battered cittern.' See also Henry's note (ed. Epic.,
p. 209) and Kn^ht, London 1.142.
3. 2. 33. I umume ol that ooat. See coat in Glossary,
and cf. Q. The allusion to the curate in the latto: makes it
certain tiiat the professton alluded to here is that of the
ministry. Cf. the word clotk in refCTence to clergymen. Cf.
Case is Alt. 1. 1, p. 309:
Vol. How now, man I how dost thou ?
Oni. Faith, sad, heavy, as a man of my coat ought to be ',
Tale of a Tub 4. 4, p. 197 :
I do incline a little to the serving-man ;
We have been of a coat ;
n,g,i,7cd by Google
Explanatory Notes 349
SidiP. of News I. 2, p. 184:
Good master's worship, some of your velvet coat
Make corpulent cnrt'sies to her.
3. 2. 46. lu has lidlow'd yoo. etc. Cf Q. An accumu-
latkm of slight changes like these shows how much more
sharply Jonson had visualized this piece to himself, and how
better able he was to present it graphically to an audience.
3.2.65- dioopenot,etc. This speech is considerably altered
from Q. See Introductnn, pp. xxxix and xl.
Q 2. 3. 231. in aeonlo secoiraam. Seculo is a misprint for
secula. This phrase, found especially in ecclesiastical Latin,
means for ever, to all eternity. The following instances may be
noted : Tob. 9. zi : 'Et sit semen vestrum benedictum a Deo
Israel, qui regnat in secnla seculorum ' ; Rom. 26. 27 : ' Soli
sapienti Deo, p^ Jesum Christum, cui hon&r et gloria in
secula seculonim': Rev. 1.6.: 'Ipsi gloria et imperium in
secula seculorum' ; TextuUian, Ad Uxorem i, i : 'In . . ., cui
sit honor, gloria, claritas, dignitas et potestas nunc et in
sscula saculorum ' ; Ambrose, Hexaemeron 3. 17. 72 : ' Deni-
que . . ., ut tribuat nobis Dominus . . . : cui est honor, laus,
et gloria, perpetuitas a sEeculis, et nunc et semper, et in
omnia ssecula sseculorum.' It is used here in a jesting sense.
Cf. Rex Regum, Q 2. 1. 18.
Q 3. 1. 2. Why what's a clocke, etc, This reference to
time is omitted in F, but the next one (1. 36) appears as
Exchange time.
3. 3. 20. To the taste trait of beauties goUen ttee, etc.
The line should read, of course, 'to taste the fruits, etc' The
allusion is to the dragon Ladon and the golden apples. See
note on the Hesperian Dragon, i. 2. 106.
3. 3. 23. No beaotie, no; yon an (d too good oaraet, etc.
The alteration from Q is considerable here, and the passage
is e]q>anded. Once more, the change is in the direction of
concreteness, vigor, and adaptation to English conditions.
Jonson must have realized that his ideas were often in danger
of being insufficiently understood, or misunderstood, in the
language in which he had clothed them. The passage in Q
n,g,i,7cd by Google
350 Euery Man in his Humour
seems all^oricat, abstract, and shadowy, when compared
with F. The conception lying behind ' Oh beauty is a Proted
of some power', etc. is infinitely plainer and more forceful
when recast m F, and specifically illustrated by Kitely's jealous
fears for his wife. The figures of inspiring motion in stone,
and striking fire from ice, are preserved, and colain others
added, but they find a truer relation in a more concrete de-
scription, and help to clarify the idea. See caract in Glossary.
3. 3. 26. u a iet doth steswes. ' Jet as well as amber has
certain electrical properties, and is mentioned by Alex. Neckam
{d. 1217) in bis diapter "De vi attractiva " 1[Roy, MS, 12 G.
xi. f. 53). In Trevisa's version of Bartholomaeusi "Gette
hyght gagatas " is described as best and most abundant m
Britain, and as being of two kinds, yellow and black, both
having the power of attracting light substances. See Way's
edition of Promptorium Paniulorum, p. 191 (note).' — Wh.
3. 3- 37- Since otn wineB won thftw little caps. About
the tenth or twelfth year of Queen Elizabeth, and for three
or four years afterwards, "all Citizens' wiues in generall, were
constrayned to weare white knit Caps of woollen yame,
unlesse their husbands were of good value in the Queenes
booke, or could prove themselves Goitlemen by descent, and
then ceased the womens wearing of Minevor Caps, otherwise
called threecomer Caps, which formerly was the usuall wear-
ing of all graue Matrons. These Minevor Caps were white,
and threesquare, and the peakes thereof were full three or
four inches from their head, but the Aldermen's wiues and
such like, made them Bonnets of Veluet after the minevor
Cappe fashion, but larger, which made a great show upon
their heads, all which are already quite forgotten.' — Stow,
Chronicle of England (1631), p. 1039. Wheatley cites the
passage from the Taming of the Shrew {4. 3. 648.) where Pe-
tnichio ridicules Katharine's cap, calling it a 'baby cap', and
she responds by saying. Ill 'have no bigger : this dotb fit
the time. And gentlewomen wear such caps as these.'
3. 3. 39. thiee-pild akomes. This seems to be a reference
to the 'threecomer caps' mentioned in the iwevious note.
Planch^, in commenting upon this passage in his Cyclopadia
n,g,i,7cd by Google
Explanatory Notes 351
of Costume (i. 80), says there are no pictorial illustrations of
this often-named cap attached to any description of it, and
that no writer on costume has made plain the exact nature
of this head-dress. He alludes to an ordinance for the fe-
formation of gentlewomen's head-dress, written in the middle
of Elizabeth's reign (Harleian MS. no. 1776), which decrees
that 'none shall wear an ermine or lattice bonnet, unless she
be a gentlewoman bom, having arms.' Stubbes, in The
Anatomy 0/ Abuses, p. 69, writes: 'And some weare Lattice
cappes with three homes, three comers I should saie, like the
forked cappes of Popishe Priestes, with their perriwincles,
chitterlynges, and the like apishe toyes of infinite variety.'
Planch^, accordingly, believes the lattice and miniver-cap to
be identical, since 'lattice or lettice, in Italian, latizxi.v/as the
fur of a "beast of a whitish-grey colour" {Cotgrave), some-
what resembling ertnine' ; and miniver [menu-vair] was com-
posed of the fur of ermine mixed or spotted with the fur of
the weasel, called "gris." See three-piled in Glossary.
Q 3. 1. 31. Goe cary it agsine, ... I will ddeira iL The
two somewhat ambiguous its in these lines are made clear
in F by the substitution for them of their antecedents, doke
and going respectively,
3.3.46. Exchange time. Knight, in bis /.oiu^ (2. 292),
writes thus of the bell-tower and chimes of the Royal Ex-
change : 'The principal feature of the exterior view is a lofty
square tower with two balconied galleries, and a grasshopper
surmounting the ball at its top, which stands on one side the
bell tower, from which issued at twelve at noon and at six
in the evening the Merchants' call to "Change."' 'Die Lon-
doner Kaufleute hatten ibre festgesetzte Zeit, zu der sie sich
zur Besprechung und Erledigung ihrer geschaftlichen An-
gel^enheiten auf der Borse traien ; es war dies die sog.
"Exchange-time", vormittags 10 Uhr.' Schnapperelle, Die
biirgerlichen Stdnde etc., p. 24. Q also reads (3. i. 37) Past
ten sir.
3. 3. 53. Wherein, nv' JmaginatlMM rmme, like sandi;
raiing Tp time. The first line of Q, which F omits, Runne
n,g,i,7c.dbyG00'^lc
352 Every Ma» in Am Fnmont
driblitig foorth toftUthe mouth of time, would have been an im-
provement here, as rendenng the figure more gra^Jiic and
forceful. For the rest, however, F is better. The omission
of the scientific word ventricle shows good taste, and the
expansion of the idea suggested in What ■were I best to iot
(Q 46) is an improvemoit.
3. 3. 61. flwn'i DO ipeeeh d him. See speech and 0/ in
Glossary, and cf. Abbott, § 174. and Franz, § 517. Speech b
snbstituted for lalke of Q.
3. 3. 62. ttien were no mm o'the eartti to niomw. To
is used here in the sense of in comparison with. See Abbott,
§ 191, and Franz, § 529.
3.3.64, iboidd he bane a chinke in him. Q reads 'if be
should prooue, Rimarum plenus." Rimarum plenus (full of
chinks) is used in this figurative sense in Terence {Eunuch, ed.
Fleckeisen, i. 2. 25). It is the antonym of /ocere and coffh'n«r«,
and means 'able to conceal nothing.' Cf . the English expression
leaky, in a similar sense. In The Eunuch, Thais, a courtesan,
asks Phsdria, a young man in love with a girl in het possession,
whether his servant, Parmeno, can hold his tongue. The
servant intorupts, and declares that he can keep a secret
perfectly, if it is true, but adds that if it is a falsehood, or lie,
or invention, concerning which he is to be silent, 'plenus
rimarum sum, hac atque iliac perfluo ' (I am full of cracks,
I leak all over). Cf . a similar use of n«w in Plautus, Curctdio
4. 2. 24: 'Aliquam reperitis rimam.'
3.3.81. to my prinato. See priuaU in Glossary. My
priuate thoughts, the reading of Q, seems more natural to a
modem reader.
Q 3. 1. 76. he has some meaning ran. The vague idea
involved in the word meanif^ is amply explained in the ex-
panded passage in F.
3. 3. 96. At Fayles, and Tick-tack. GiSord received the
following explanation of Fayles from Francis Douce, of the
British Museum: 'It is a very old table game, and one of
the numerous varieties of back^ganunon that were formerly
used in this country. It was played with three dice and the
usual number of men or pieces. The peculiarity of the game
by Goo i^ I C
Exftanaiory Notes 353
depended on the mode of first placing the men on the points.
If one of the players threw some particular throw of the dice
he was disabled from bearing off any of bis men, and there-
fore layled in winning the game, and hence the appellation
of it. The above particulars are gathered from a manu-
script in the Royal Collection, containing, among other things,
some account of the table games made use of in the 14th
century. In the English translation of Rabelais, by sir
Thomas Urquhart, the failie is mentioned among Gargantua's
games. The original is bartgntn, which the Dutch editor calls
a "sort of tric-trac.'"
3. 3. 103. I am Eesola'd without it The antecedent of it is
sufficiently clear, so that the cumbrous expression such cir-
dumslance of Q is not needed.
3.3.107. these cenmonies need not This line is cited by
Abbott (§ 293) as an illustration of the rare use of a transi-
tive verb as intransitive. Cf. Epic. 3. 2. p. 401 : 'It shall not
need, mistress Morose,'
3. 3. 112. But whether his oath can bind him, yea or no.
Being not takm lawfully, 'It was a question in casuistry,
whether an oath was of any force, unless taken in form before
a legal magistrate : the poet therefore brings this to his ima-
gination, to fill him with groundless objections, and throw
him into the greater perplexity.' — W. Gifford adds, as con-
firming Whalley 's view, the following quotation from 3 Hen. VI
1. 2. 22 : 'An oath is of no moment, being not took Before a
true and lawful magistrate.'
3. 3. 130. - Or whether he oome, or no. Whether aft^ or
here seems superfiuous, but it was sometimes so used in
Jonson's time. Cf. Abbott, § 136. Cf. Corioianus 1.3.69:
'. . . Or whether his fall enraged him, or how 'twas.'
3. 3. 144. Bat Thomas, keepe this bom my wife, I diaigB
you. This line, absent from Q, is a concrete touch which
makes the figurative language in the following line more in-
telligible.
3. 4. 1. Fasting dayes. 'The expression of Cob's illKX)n-
tent at the fasting days was sure to find an echo in the feelings
of many of his auditors. The fasts of the Roman Catholic
n,g,i,7cd by Google
354 Every Man in his Humour
Church were continued in Protestant England for the {Ht>vi-
dent purpose of helping on the fisheries and increasing the
namber of sailors. We find among the State PapCTS many
documents relating to this subject. In 1563 "a Bill for the
better observance of Fast days and regulating how many dishes
of Flesh shall be at table " is registered, and in the same year
"Notes of the days of the year appropriated for fish days on
certain fasts and festivals of the Church, and for every Wednes-
day." The Fishmongers' Company looked afto* the butchers
to see that they did not sell meat on the prohibited days, and
the justices of the several hundreds ov» the county had strict
injunctions to appoint "searchers to detect persons eating or
dressing fiesh on fast days." On March 10, 157Q, was pre-
pared a "certificate of the increased niunber of ships and
vessels in various seaport towns since the enacting of the
statute for maintenance of the navy and abstinence from flesh
on Wednesdays." What the popular feeling on the subject
was may be seen in Lodge and Greene's Looking Glasse for
London and England, 1594, in which play one of the characters
makes use of his wide breeches as a secreting place for various
prohibited viands. "This right slop is my pantry, behold a
manchet {draws it outf ; this place is my kitchen, for lo, a piece
of beef (iriiii>s it oui)—0 let me repeat that sweet word again I
lor lo, a piece of beef. This is my buttery, for see, see, my
friends, to my great joy, a bottle of beer [draws it out). Thus,
alas, I make shift to wear out this fasting ; I drive away the
time. But there go searchers about to seek if any man breaks
the king's command. O h»e they be ; in with your victuals,
Adam. {Puts them back into his s/o^s.)'"— Wh., pp. xlff. Cf.
Cynth. Rev. 3.2, p. 261: 'Unless 'twere Lent, Emboweeks,
or fasting-days, when the place is most p^iuriously empty of
all other good outsides.'
3. 4. 4. cmlier-weekeB. 'The Ember-days are periodical
fasts originally instituted, it is said, by Pope Calixtus, in the
third century, for the purpose of imploring the blessing of
Heaven on the produce of the earth ; and also preparing the
clergy for ordination, in imitation of the apostolic practice
recorded in the 13th chapter of the Acts. It was not, Iwwevff ,
n,g,i,7cd by Google
Explanatory Notes 355
till the Covincil of Placentia, 1095 A.D., that a uniformity as
r«^ards the season of observance was introduced. By a
decree of this assembly, it was enacted that the Ember-days
should be the first Wectoesday, Friday, and Saturday foUowing,
respectively, the first Sunday in Lent, or Quadragesima Sun-
day, Whitsunday, Holyrood Day (14th September), and St.
Lucy's Day {13th December). The term is said to be derived
from the Saxon emb-ren or imb-ryne, denoting a course or cir-
cuit, these days recurring regularly, at stated periods, in the
four quarters or seasons of the year. Others, with some plau-
sibility, derive the epithet from the practice of sprinkling dust
or embers on the head, in token of humihation ; and also from
the circumstance that at such seasons it was only custbmary
to break the fast by partaking of cakes baked on the em-
bers, or ember-bread. In accordance with a canon of the
English Church, the ordination of clergymen by the bishop
generally takes place on the respective Sundays immediately
following the ember-days. The weeks in which these days
fall, are termed the Ember-weeks, and in Latin the ember-
days are denominated 7e}'wn>ii9w<i^tM»-/em^(»-um, or "the fasts
of the four seasons." ' — Chambers, Book of Days 2. 687.
Wheatley notes the following allusion in Nash's Lenten Stuff
{Wks. 3. 211) : 'For his ensainting, tooke the almanack in the
b^;inntng of Aprill, and see if you can finde out such a sainte
as Saint GiMarde, which, in honour of this gilded fish, the
Pope so ensainted : nor there bee rested and stopt, but in the
mitigation of the very embers whereon he was sindged, that
afto' he was taken off them, fumed most fulsomly of hb fatty
droppings, hee ordained ember-weekes in their memory, to be
fasted everlastingly.'
3. 4. 9. I am none o' your cart-horse. The substitution of
cart-horse for colliers horse of Q dbpenses with a pun. It
cannot be inferred, however, that Jonson had any feeling
against puns, as the frequent use of them in this play
testifies.
3. 4. 36. and't were lor S' Bevis his hone. Arundel was
the name of the horse presented to Sir Bevis of Hampton by
Josyan. See Sir Bates of Ramtoun (ed. Kolbing, p. 46) :
by Google
356 Eutry Man in his Humovr
JosyaD gave him suche a stede
The beste, that euer was at nede ;
He was so swifte and so snell
Hen callid hym Arondell ;
Ther was no hors in the world so stronge.
That might fEolwe hym a furlonge.
See epigram to William, Earl of Newcastle {Undervoods,
No. 71) :
Or what we hear our home-born legend tell
Of bold Sir Bevis, and his Anindel.
Cf. note on the Lord Chamberlaine his servants.
3. 4. S3, tnine HannibaL The word intended is obviously
cannibiU. Koeppel {Skak. Jahr. 42. 206) cites the parallels
with 2 Henry IV z. 4. 1770. :
ShaU pack-horses . . .
Compare with Cssars, and with Cannibals,
And Trojan Greeks ?
Meas. for Meas. 2. i. t8z, 186: 'Oh thou wicked Hannibal!'.. .
Prove this thou wicked Hannibal.'
3. 4. 56. as ridt as king Cophetvs. ' In ballad poetry, a
l^endary African King who wooed and manied Penelopbon.
a b^gar maid. The ballad is preserved in Percy's Rdiques'—
CD. See Percy's Reliques 1.2.6. Cf. Romeo and JtUiet
2. I. 12 :
One nick-name for her purblind son and heir.
Young Adam Cupid, he that shot so trim.
When King Cophetua loved the be^ar-maid I
2 Hen. IV 5. 3, 104:
O base A^yrian Knight, what is thy news ?
Let King Cophetua &ow the truth thereof.
Love's Labor's Lost 4. i. 65: 'The magnanimous and most
illustrate King Cophetua set eye upon the pernicious and
' indubitate b^ar Zenelopbon.' See also Tennyson's Be^ar
Maid. Gifiord remarks : ' King Cophetua is better known for
his marriage with "a beggar maid", than for his riches; but
Kings, in the opinion of Cobs of every age, are always rich.'
Q reads 0$ rich as Golsas.
n,g,i,7cd by Google
Ex^antUory Notes 357
3. 4. 61. He bee hang'd, an' eome FLBh-mongen Sonne do«
not make ol hem, 'For the support and encouragement of
the fishing towns in the time of queen Elizabeth, Wednesday
and Fridays were constantly observed as fast-4ays, or days of
abstinence from flesh. This was by the advice of her minister,
Cecil : and by the vulgar it was generally called Cecil's Fast.'
— ^W. See note on fasting dayes (3. 4. i). Cunningham adds
to Whalley's note : 'The real object was to keep up the breed
of seamen in readiness for war. But the reasons publickly
assigned were that, "by eating of fish much flesh was saved
to the country ", and that "due and godly abstinence from
flesh was a means to virtue."' See Froude, Hist. Eng-
land (ed. 1870) 5.142,
3.4.64. would Tttet bis lathers di^atock-Qsh. Seettiter
in Glossary. Cf. Epic. 4. 2, p. 445 : '. . . Twas her commen-
dation utter'd them in the collie.'
3.5.1. Beshiew me, iKitiCwaa an absolute good iesL Ab-
soliOe is an adverb with the form of an adjective. Cf . Abbott,
g I, and Franz, § 241. But is not an adversative here, but
means *'/ not after beskrew me. See Abbott,§ 126, and Franz,
5566.
3. 5. 6. I lorgiue M*. Stephen, lor he is sttipiditie It seUe.
See note on 3. i. 81.
3.5.8. and I might taaaebemiojni'dpattai with one ol the
seueu viae masters. This passage has puzzled commentators.
Cunningham says of it : 'I can only guess at the meaning of
this phrase. It was an age of patents, and I fancy Knowell
meant, "notonty if ithad secured me a share in the monopoly
of wisdom for the future."' WheaUey writes : "This passage
is a difficult one to explain. It is probably intended for
"joined pattern", and means that Kno'well might have wis-
dom Uke the seven sages.' It is barely possible also that
patl«n here has its sense of foot-wear, and that the phrase has
some such meaning as kept pace with. Knowell is evidently
saying here that not one of the 'wise masters' themselves
could have recognized Brainworm in his disguise. Wheatley
enumerates the seven wise masters. They were : Bias of
Priene in Ionia ; Pittacus of Mitylene ; Cleobulus of Ltndtis,
n,g,i,7cd by Google
3S8 Euery Men in his Humour
in Rhodes ; Periander of Corinth ; Solon the Athenian ; Chilon
the Lacedemonian ; and Thaks the Milesian. Q reads 'the
nine worthies.'
Q 3. 2. 10. one ol yoni poore Dtsparoiew's. I am unable
to explain this curious word. The kind of character meant is
sufficiently illustrated hrom the context of the passage.
3. 5. II. yooi decay'd. raimws. wonne-eaten geiUlenwi ol
the toond. 'Invalids, or disbanded men, who, to proinue
themselves a livelihood, had taken up the trade of b«|;gittg.
A gentleman of the round was a soldier of inferior rank, but
in a station above that of a common man. This appears from
a pamphlet published in that age, in which the several military
d^ees are thus enumerated: "The general, high marshal]
with his provosts, serjeant-general, serjeant of a raiment,
corownel, captayne, lieutenant, auncient, serjeant of a com-
pany, corporall, gentleman in a company or of the rounde,
launce-passado. These," says 'the author, "are special; the
other that remain, private or common soldiers." — The casUe
or picture of polity, .etc. 1581. The duty of these gaitlemen
was, to visit the centinels, watches, and advanced guards :
and from their office of going their rounds, they derive tbdr
name'. — ^W. Cf. Epic. 4, 2, p.438 : 'But he walks the round
up and down ' ; Alch. 3. 2, p. 96 :' I have walk'd the round.'
3- 5. 13. root Pronost, ajid hia haUe-donn ol haflrnddn.
See Glossary for prouost and halherdeir. 'Your halberdier
shall be armed in all points Uke your pike, onely instead of
the pike he shall carry a faire halberd, that is strong, sharp
and well-anned with plates of iron, from the blade at least
two foot downe-ward upon the stafie, and fringed or adorned
according to pleasure, and these halberds doe properly belong
unto the serjants of companies who by reason of their much
employment are excused from arms.'— G. Markham's Sold-
ditfs' Exercise, 1639, p. 4. {Souidiers' Accidence). See Wheat-
ley's note. Provost occurs repeatedly in Measure for
Measure.
Q 3. 2. 17. one of these leane Piiso's. This is probably
a reference to Plautus' Pyrgopolonices A few of the parall^
in literature cited by Reinhardstoettner (pp. 107 fi.) for this
n,g,i,7cd by Google
Explanatory Notes 359
character are Roister Doister, Sir Tophas in Lyly's Endymion,
Falstafl, Don Armado, and Pistol. These harmonize with the
present passage. He b fittingly called also 'theTamberlaine,
or the Agamemnon on the rout.'
3. 5. 23. Serieuit BUior. Wheatley quotes the following
reference (Markham's Souldiers' Grammar, 2d part, pp. 6—7) :
"Next to the Captaines are ranged the Serjeant Majors of
regiments, being principall captaines in the regiment wherein
they serve ; and having power upon all commandements to
imbattaile and forme the regiment according.to the forme and
demonstration appointed by the Serjeant Major General!.
These officers take their range according to antiquity, and the
dignity of the place whereunto they are called (that is to say,
before every private captaine). Next to these are ranged the
Lieutenant Colonells of R^ments.'
3. 5. 23. Ueatenant-OomwU. See Glossary.
3. 5. z6. ariilioer. Cf . Glossary and gallatU of Q.
3.3.31. HoondB-ditdL 'From Aldgate, north-west to
Bishopsgate, lieth the ditch of the city called Houndes ditch ;
for that in old time, when the same lay open, much filth (con-
veyed forth of the city) ,espedally dead dogs, were there laid
or cast ; wherefore of latter time a mud wall was made,
inclosing the ditch, to keep out the laying of such filth as
has been accustomed.' — Stow, Survey, p. 116 (ed. 1603, re-
print in Everyman's Library). 'Now many of the better
houses ... are occupied by warehousemen, "importers", and
wholesale dealers in toys, and Bimiingbam and Sheffield
wares, but there are still many brokers and clothiers. On
afternoons the pavement, about half-way down, is cumbered
with Hebrew and Hibernian dealers in old clothes, bearing
their wares over their left arms, and eagerly bargaining or
trying to bargain with each other or with chance customers.'—
Wheatley and Cunningham, London Past and Present 2. 237.
Note also the following ref^^ces in poets : Dekker, Knight's
Conjvring (Percy Soc., p. 54) : 'Tell all the Brokers in Long-
Lane, Hounsditch, or elsewher'; "Fletcher, Woman's Prize
2. 2. 133 : 'More knavery, and usury. And foolery and brokery,
than Dogs-ditch'; Taylor, Brood of Cormorants:
n,g,i,7cd by Google
360 Ettery Man in his Humour
Was Houndsditch Houndsditch call'd, can any tell.
Before the Brokers in that streete did dwell ?
No sure it was not, it bath got that name
From them, and since that time they thither came;
And well it now may be called Houndsditch,
For there the Hounds will give a vengeance twitch.
3- 5- 33- * cialtie taurae needs no Inoter. Ray's Proverbs
(1678), p. 164 : 'Two cunning knaves need no broker : or a
cunning knave, etc ' ; 2 Henry VI i. 2. 100 : 'They say "A
crafty knave does need no broker'"; Staple of News 2.5,
p. 212 (P. jun to Broker) : 'Methinks my uncle should not
need thee. Who is a crafty knave enough, believe it.'
3. 5- 59- lor taUng the wall, ol his hone. See take in
Glossary. Cf. Rom. and Jul. 1. 1. 15:'! will take the wall of
any man or maid of Montagues.'
3.5.60. wearing his olokeol one shoulder, '0/, signifying
proximity of any kind, is sometimes used locally in the sense
of on.' See Abbott, § 115, and Franz, § 520. Cf. Mer. 0/
Ven. 2. 2. 99 ft. :
Gob. Thou hast got more hair on thy chin than DobtHo
my fill-horse has on his tail. . . .
Laun. I am sure he had more hair of his tail than I
have of my face when I last saw him.
Henderson {N. & Q. 8. 8. 27] cites the following parallel
from Rom. and Jul. (3. 1.30), and beheves Shakespeare to have
been influenced by Jonson : ' Thou hast quarrelled with a man
for coughing in the street, because he hath wakened thy dog
that hath lain asleep in the sun : didst thou not fall ont with
a tailor for wearing his new doublet before Easter.' This be-
comes the subject of a general controversy which runs through
pp. 132, 272, 317; 8. 9. 150; 8. 10. 35.
3. 5. 63. Oash goes in and oat calling. Grabau notes (p.
85) that this stage-direction takes the place of the definite
notes of entry and exit in Q. This is an illustration of Q^
faractice in this regard.
3.5.72. I'leleametotakeUpow.sinceyoiieoinmendlt.io.
Stephen, aping Bobadill as the beau-ideal of the gentleman,
evidently regards the taking of tobacco as one of the im-
n,5,i,7c.dbyG00«^lc
Explanatory Notes 361
portant habits to imitate. Cf. Every Man Out 4. 4, p. 144 :
"Nay, he has left all now, I assure you, and is able to live like
a gentleman, by his qualities. By this dog he has the most
rare gift in tobacco that ever you knew.'
3. 5. 75. the mvU shal not teproue. See reprove in Glos-
sary. This is a more appropriate word here than improve
of Q.
3. 5.82. it makes an antidote, etc.. There are frequent
literary allusions to the curative, powers of tobacco. The
following is typical :
Into the woods thenceforth in haste shee went.
To seeke for bearbes that mote him remedy ;
For shee of hearbes had great intendiment.
Taught of the Nymphe which from her infancy
Her noursed bad in trew Nobihty :
There, whether yt divine Tobacco were.
Or Panachiea, or Polygeny,
Shee fownd, and brought it to her patient deare,
Who al this while lay bleding out his hart-blood neare.
—Spenser, F. Q. 3. 5. 32.
Q 3. 2. 82. pojnsraioiu simple. See Glossary and F. Plant
seenas a better word, since simple itself was used in the sense
of a medicinal herb.
3. 5. 85 Yotir Balsamum. and roor ff. lohn'i woort.
'There are many kinds of Balsam, but the best known are
the Balsam of Tolu, first noticed by the Spanish physician
Monardes, in 1574, and the Balsam of Peru, also first de-
scribed by the same writer. It was probably introduced into
Europe about the year 1524. (See Fluckiger and Hanbury's
Pharmacographia, 1874) St. John's Wort (Hypericum per-
foratum) was much used for gargles and lotions, and was
thought to be specially efficacious if gathered upon the day
of St. John the Baptist. When this plant is squeezed, a red
juice comes out which is popularly called St. John's blood.' —
Wh. St. lokn's woort is not mentioned in Q.
3.5.87. your Hiootian is good too. Fairholt (Tobacco,
p. 2) cites the Virginian tobacco {Nicoliana fabacum) which
was introduced into Europe by Francis Drake as first among
n,g,i,7c.dbyG00t^lc
362 Every Man in his Humour
the principal varieties of the plant, and describes it thus :
' It sometimes reaches the height of seven feet, and is of a
strong coarse growth, the leaves, sometimes two feet long,
clasp the stem . . . and are covered with glandular hairs,
which burst on the smallest pressure, and impart a glutinous
character to the leaf, and an unpleasant odour to the hand.
The flowers grow in a Ininch on the summits of the plant,
they are of a pink colour, the s^ments of the corolla being
pointed. . . . Shag, Reiums, and the ordinary cut tobaccos
are [vepared from this kind ; of which there are many varieties,
giving name to different qualities of tobacco, and chiefly
adopted from the places of their growth.'
3.5.87. yoDi Nicotian. 'Francesco Hernandez sent some
plants into Spain and Portugal at the time that Jean Nicot
was ambassador from Francis II. to the court of Lisbon, and
Nicot transmitted a few plants to Catherine de Medicis, thus
associating his name indissolubly with tobacco. Cotgrave
takes no note of the word labac in his dictionary (1611), but
has the following article under NicoHane "Nicotian, tobacco
first sent into France by Nicot (the maker of the great French
dictionary] in the yeare 1560, when he was Embassador L^er
in Portugall."' — Wh., p. xlvii.
3. 5. 8S. fattbeexpalsioitofrhewme8,etc. 'Itcurethany
griefe, dolour, imposture, or obstruction proceeding of colds
or winde, especially in the head or breast. The fume taken
in a pipe is good against Rumes, Catarrhs, hoarseness, ache in
the head, stomackes, lungs, breast: also in want of meate,
drinke, sleepe or rest.'— Buttes, Dyets Dry Dinner, 1599 (quot-
ed in Fairholt's Tobacco, p. 481).
3. 5. 95. a tobaoOO^cadet's moidlL Tobacco-trader seems
to be used here as synonymous with tobacconist in its obsolete
sense of a habitual tobacco-smoker. Of. Every Man Out 3. i,
p. 105 : ' It pleases the world (as I am her excellent Tobacco-
nist) to give me the style ofSigniorWhiffe.' Wheatley quotes
the following from Earle's Microcosmography : — 'tobacco-
seller is the only man that finds good in it which others hrag
of but do not ; for it is meat, drink and clothes to him.' Cf . Q :
'O this speech would haue done rare in a pothecaries mouth.'
n,g,i,7cd by Google
Exflanaiory Notes 363
For adjectival fonn of adverb rare see Abbott, § i, and Franz,
§ 368. See pothecary in Glossary.
Q reads 'pothecaries moutb.' Nicholson {Antiquary 6. 6)
writes : 'What made the change necessary ? Must it not have
been because a new and rare herb was at first sold by the
apothecaries as an item of their stock in trade, but when its
fashion, and therefore its supply bad become great, its sale
had become a separate business able to maintain its purveyor ?
This is a plausible theory, and gains added credence from
the fact that medicinal qualities were assigned to tobacco at
first. See dectUy in Glossary.
3.5.110. lie voided sbodiellid soot yester<day. Whalley
quotes the following from King James' Counierblast to Tobacco
{Wks., p. 221) : ' Surely smoke becomes a kitchen, far better
than a dining chamber, and yet it makes a kitchen often-
times in the inward parts of men ; soiling and infecting them
with an unctuous and oily kind of soot, as hath been found
in some great tobacco-takers, that after their death were
opened.' Gifford adds that James revenged himself for the
manner in which his Counter-blast was received by laying a
duty on tobacco. He notes also that Shakespeare is the only
one of the dramatic writers of the age of James 'who does
not condescend to notice tobacco : all the others abound in
allusions to it.' Cf. Case is All. 2. 3, p. 331 :
Sister i' faith, you take too much tobacco.
It makes you black within as you are without.
3. 5. 112. lid lume it present wbippine, man, or woman.
For the apparently redundant it, see Abbott, g 226.
3. 5. 117. Cnllion. See Glossary. Wheatley quotes the
following illustrative quotations :
It was that crafty culUon, Hodge,
My Gammer Gurton's man.
—Gammer Gurton's Needle (Hazlitt's Dodsley 3. 239);
Long live Severino,
And perish all such culUons as repine
At his new monarchy 1
, Guardian (ed. Symons) 2.4.220.
by Google
364 Euery Man in his Humour
3. 5. 135. Uie mtMt dinloe tabaooo. that mm I dranke.
This seems to have been, as Gifiord suggests, a customary
exjK'essioD for smoking at this time. 'What we now c^
smoking was at this period generally termed drinking to-
bacco , . '. . The term, no doubt, originated in the custom of
inhaling the smoke, and allowing it to escape through the
nose.' — Fairhott, Tobacco, lb History and Associations, p. 56.
Hentzner, in hb Journey into England, p. 43, gives the foOow-
ing quaint description of this method of smoking : 'At these
spectacles, and everywhere else, the English are constantly
smoaking Tobacco and in this manner ; they have pipes on
purpose made of clay, into the farther end of which they put
the herb, so dry that it may be rubbed into powder, and
putting fire to it, they draw the smoak into their mouths, whkh
they puS out again, through their nostrils, Uke funneb, alcmg
with it plenty of phl^m and defluxion from the head,' The
catalogue of Rubens' effects, sent over by Sir Baltbaxar
Gerbier to Charles I in 1640, calls a Dutch picture of smokefs
'the Tobacco-drinkers' (see Fairholt, Tobacco, p. 37). Con-
ningbam calls attention to Ford's skillful use of the term in
The Lover's Melancholy (ed. Dyce i. 66) :
They that will learn to drink a health in hell,
Must learn on earth to take tobacco well;
To take tobacco well, to take tobacco w^.
For in hell they drink nor wine, nor ale, nor beer.
But fire and smoke and stench as we do here.
Cf Every Man Out 4. 4, p. 133 : ' I brought some dozen or
twenty gallants this morning to view them, as you'd do a
piece of perspective, in at a key-hole ; and there we m^t see
Sogliardo sit in a chair, holding his snout up like a sow
under an appletree, while the other open'd his nostrils with
a poking-stick, to give the smoke a more free delivery.' Cf.
also ibid. 3.3, p. 121: 'In good faith, here's most divine
tobacco.'
3. 5. 147. jroor mnu ia oitted in the arttHoie garden.
' The Artillery Garden was situated on the east side of Bishops-
gate Street, and occupied a portion of the Lollesworth Fields,
byGoot^lc
ExpioHOtory Notes 365
previously belonging to the prioiy and hospital of St. Mary
Spittle. The Artillery Garden belonged to the Hon. Artillery
Company, whose first charter was given by Henry VIII.
Master Stephen would appear to have been a member of the
Company, which for some years was a nursery for soldiers.
Some of the officers had charge of men in the great camp at
Tilbury, and were known as "Captains of the ArtiHery Com-
pany." Near the close of the reign of James I. the Company
removed from the old groimd to tiie new one, which was con-
tiguous to Moorfields and still remains near Bunbill Fields.
The exclusive use of the word Artillery to represent ordnance
is a modran practice, and when the Artillery Company was
founded, weapons of archery were understood by the term.
Cf. "his artillery unto his lad" (i Samuel xx. 40).' — ^Wh.
3. 5. 162. no woides ol it 0/ is used here in the sense of
concermng, ti^xHU. See Abbott, § 174.
3. 6. 24. Oonm-oopise. 'Comu-copia, the horn of plenty,
which, according to the fable, afforded good store of all things
that coukl be wisb'd for, by a peculiar privilege that Jupiter
gave nurseAmalthsa; whence it is figuratively taken for great
plenty or abundance in all things.' — Phillips, New World of
Words, 1706. Riley (tr. Plautus i. 287) thus annotates the
'horn of plenty' in Pseudolus 2.3.6: 'He alludes to the
"Cornucopia" or "horn of plenty", of the heathen Mytho-
logy, respecting which we find varying accounts in the ancient
writers. Some say that by it was meant the horn of the goat
Amalthea, which suckled Jupiter, and that the nymphs gave
it to Achelous, who afterwards exchanged it for the horn of
which Hercules afterwards deprived him in the contest for
the hand of Deianira. Ovid, in the Ninth Book of the Meta-
morphoses refffesents it as being the same horn which was
lHX>ken off by Hercules. "And that was not enough : while
his relentless right hand was holding my stubborn bom, he
'btoke it, and tore it away from my mutilated forehead. This
heaped with fruit and odoriferous flowers, the Nymphs have
consecrated, and the bounteous Goddess Plenty b enriched
hy my hom."' Cf. Stop, of News 3. i, p. 227 : "... all do
:aKet, To taste the Cornu-copise of her nunours.'
n,g,i,.i.d by Google
366 Euery Man in kis Humotir
3.6.36. BlideimlL Bridewell, which extended neaiiy
from Fleet-street to the Thames at Blackfriars, occupied oat
of the oldest historic sites in London. It was much selected,
until Henry VIII built a 'stately and beautilul house' wh«re
the old tower of Moiint&quit had stood. It was built for the
reception of Emperor Charles V of Spain, but was later allowed
to fall into decay. It was pvesoited to the city as a wwk-
house for the poor and a house of correction. (See Stow's
Survey 2.43—45). Hatton (A New View of London, 1708)
writes : 'It is a prison and house of correction for idle va-
grants, loose and disorderly servants, night walkers, strum-
pets, etc. These are set to hard labour, and have correctjon
according to their deserts ; but have their clothes and diet
daring their imprisonment at the charge of the house. It
fe also an hospital for indigent persons, and where twenty art-
masters (as they are called), being decayed traders as shoe-
makers, taylors, fiax-drapers, etc. have houses, and their
servants or apprentices (being about 140 in all) have clothes
at the house diarge, and their masters having the pto&t of
their work, do often advance by this means their own fortunes'
(quoted in Timbs, Curiosities of London, p. 62, which see for
account of BrideweU). Ward {London SPy, April, 1699,
pp. 9ff.) gives an into-esting description of a visit to Bride-
well.
3. 6. 45. I have eeg«s on ttie tpit 'I am very busy, and
can not attend to anything else. The reference is to roasting
^gs on a spit. They were first boiled, then the yolk was
taken out, braided up with spices, and put back again ; the
eggs were then drawn on a "spit " and roasted. As this re-
quired both dispatch and constant attentron, the person in
charge could not leave them. It must be remembered that
the word "spit" had at one time a much wider meaning than
it has now. Thus toasting forks and the hooks of a Dutch
oven were termed spits,'— Brewer, Dictionary of Phras* and
Fabie, p. z6o. Cf . Swift, Journal to Stella, Letter bdii :
'I forgot to tell you, I wnite diort journals now ; I have eggs
on the spit'; Barth. Fair 1. 1, p. 366: 'I have both eggs on
the spit, and iron in the fire.' Wheatley cites the following
n,g,i,7cd by Google
Exfdanaiory Notes 367
additional proverbs relating to foasting eggs : ' Set a fool to
roast eggs and a wise man to eat them ' ; 'There goes some
reason to the roasting of eggs.*
3.6.53. pawn'd her seoknchen lor cleans bands lor him.
Cf. the other allusions to pawning in this play, Thombury
writes thus of the ranlc of the pawnbroker in Elizabethan
England [Shahespere's England i. 46) : 'A pawn broker wore
a black taffeta doublet and a leather jerkin with crystal but-
tons, a cloak faced with velvet, a country cap of the finest
wool, and a row of gold rings upon his fingers. These men
bore as bad a reputation then as they do now. . . . These
cheats visited dining houses to advance money upon rings,
chains and cloaks. If they saw a young gentieman of fair
living and assured possibiUty, they encouraged him to expense,
and induced an accomplice usurer to lend him money, paying
the dupe in useless commodities, and binding him down with
penalties and forfeitures. Thieves' plunder they purchased
without inquiry at the rate of a crown for a pound's worth.
The poor they terribly opjH-essed, robbing them of their
clothes and household stuff, their pewter, and their brass.
They would sometimes make a poor woman pay a half-penny
a week even for a silver thimble scarcely worth six-pence,'
Stow thus describes the famous edict of Edward I against
usury (Survey of London, 1633, p. 289) : 'The third of Edward
the first, in a Parliament at London, usurie was forbidden to
the Jewes : and that all usurers might be knowne, the King
commanded that every usurer ^ould weare a Sable on his
brest, the bredth of a paveline or else to avoid the Realm. '
See also ibid., p. 677, and Chron. oj Eng. (1631), p. 200. Up
to this time the Jews had been the sole pawnbrokers iii Eng-
land. The persecution of the Jews, however, even before
this time, had attracted Lombard Merchants to settle in
England. They hung the three golden balls before their
places of business. 'An Act against Brokers' was passed in
the first year of the reign of James. This was aimed at
'counterfeit brokers.' It provided that 'no sale or pawn of
any stolen jewels, plate or other goods to any pawn-broker,
in London, Westminster or Southwark shall alter the property
Ya
n,g,i,7cd by Google
368 Euary Man in las Humour
therein ', and that "pawnbrokers refusing to produce goods to
their owner from whom stolen shall forfeit double the vahie.'
This remained on the Statute books until VSctoria had be^
thirty-five years on the tiirone. — See Encyc. Brit. Cf. note
on Exchange (2. 1. 10) for reference to the 'Pawne' there ; see
Walford , Old and New London, p. 524, for a description of the
Lombard tnerchaots in England ; see Aikin, Memoirs 0/ Jamesl
I. 67, for further verification of the corruption of the money-
loider in this age; cf .character of GiksOverreach inHassinger's
A New Way to Pay Old Debts as a literary example. Perhaps
the usurer at his worst is illustrated in Nash's Pierce PenHesse
{Wks. 1. 162) : 'At length (as Fortune served) I lighted vpon
an old stradling Vsurer, clad in a damaske cassocke, edged
with Fox fur, a paire of trunke slops, sagging down like a
shoemakers wallet, and a short tiirid-bare gown on his backe,
fac't with motheaten budge ; upon his head he wore a filthy ,
course biggin, next it a garnish of night-caps, which a sage
butten-cap, of the form of a cow-«heard, ouers[vead vciy
orderly : a fat chufie it was, remember, with a gray beard cut
short to the stumps, as though it were grinde, and a huge,
woonne-eaten nose, like a cluster of grapes hanging downe-
wardes.'
3. 6. 55. tabaooo. Fairholt (Tobacco, p. 46) speaks as
follows of tlie spelling of this word : 'But the Spanish name,
tabaco, given to it by Hernandez ultimately triumphed over
all, and became (with slight variations) that universally re-
cognized over the world. The Spaniards still use the name
in its old purity of spelling ; the Portugese and Italians add
an additional letter and term it tobacco ; we altar the first
vowel improperly and call it tobacco ; the Poles term it tabaka;
the Danes and Swedes shorten it to tobak; the Germans, Dutch,
and Russians spell it tabak, a close approach to the Freacb
tabac.' Fairholt further discusses the origin of the name in
this same book on pp. 14 ff.
Q 3- 3- 54- <ui Ingratitade wretoh. See Abbott, § 5, and
Franz, g§ 358 — 367. 'Adjectives are frequently used for
Nouns, even in the singular.' Cf, Sejanus 3. i, p. 76 : "Every
Roman's private'; Discoveries, p. 136: 'It is no man's
n,g,i,7cd by Google
Explanatory Notes 369
several.' Monster of ingratitude, the reading of F, is an
improvement,
Q 3- 3- 63- touwe. See Glossary. The word is omitted
in F.
3. 7. 10. at the sisoe of the water-Tankerd. bard b7 the
greene lattice. 'These water-tankaids were used for carry-
ing water from the conduits to the houses, and were therefore
a professiooai sign of the water-carriers. The measm^s held
about three gallcms, and were shaped like a truncated cone,
with an iron handle and hoops Uke a pail, and were closed
with a cork, bung, or stopple. In Wilkinson's "Londina
Illustrata", there is an engraving of West cheap, as it appear-
ed in the year 1585, copied from a drawing of the period,
in which the Little Conduit is seen with a quantity of water-
tankards ranged round it.'— Larwood and Hotten, History of
Signboards, p. 391.
'In old times the ale-house windows were generally open,
so that the company might enjoy the fresh air, and see all
that was going on in the street ; but, as the scenes within were
not always fit to be seen by the "profanum vulgus" that
passed by, a trellis was put up in the open window. This
trellice, or lattice, was generally painted red, to the intent
it has been jocularly suggested, that it might hamumize with
the rich hue of the customers' noses; which effect, at all
events, was obtained by the choice of this colour. Thus Pistol
says: — "He called me even now by word through a red lattice,
and I could see no part of his face from the window," ... So
ctMnmon was this fixture that no ale-house was without it. . . .
At last it became synonymous with ale-house. . . . The latti-
ces continued in use until the beginning of the eighteenth
century, and after they disappeared from the windows were
adopted as signs, and as such they continue to the present
day. The Green Lattice occurs on a trades token of Cock
Lane, and still figures at the door of an ale-house in Billings-
gate, whilst not many years ago there was one, in Brownlow
Street, Holbom, which had been corrupted into the Green
Lettuce.* — Ibid., pp. 374 — 3.
3.7.11. IluHiepald«»t,aiidlottbera. See Glossary. Cf.
n,g,i,7cd by Google
370 Eutry Man in fUs Humow
Nasb, Lenten Stuffe(Wks.'i. i6i) : '. . . Tho-e were seaventie in
habitasts or householders that payed scot and lot m the time
of Edward the Confessor.'
3. 7. 16. iriut biuiiiease lia's mj poote nei^bom with me.
WUk me is not found in Q. Slight changes like these do much
toward making the conversation quickly intelligible.
3. 7. 30. an' I die, within a tweloft-moneth and a day.
'This is the period of time required in the construction of the
common law, to determine on the cause of the death of a
man bruised or wounded by another. . . .
' Yeof and day is a time that determines a right in many
cases. ... So is the year and day given in cases of appeal, of
descent after entry or claim, of non claim upon a Fine, 01
Writ of Right, of the death of a man sore bruised or wounded :
of Protections essoigns in respect of the King's service, etc. —
Blount's Law Dictionary, 1670.' — Wh.
3- 7. 34- what ptetenoeP what oolonr hast thon hv that
See colour in Glossary. * Skeat has the following interesting
note on the word colour, which bears upon its connection
with the other word pretence, in his edition of The Two NaUe
Kinsmen (ed. 1875, p. no) : "Colour, outward appearance ;
especially a specious appearance of good." Thus in Bacoo,
who wrote a short treatise, called "Table of the Colours, or ap-
pearances of Good andEvilandtheirdegrees." Westillsaya
"colowaUe pretext." The A. S. hiw (now spelt Axe) means
both a colour and an appearance ; and the word hiwian (lit.
to hue), means both to fashion and to pretend ; whence the sb.
hiwung (Ut. a hue-ing, a pretence). Thus — " Hiwigende lang
gebed", pretending long prayers; Luke zo. 47.' — Wh. Cf,
Wint. Tale 4. 4. 564 : 'What colour for my visitation shall 1
Hold up before him ' ; Hen. VIII i, 1. 177 : 'Under pretence
to see the queen his aunt — For 'twas indeed his colour.'
3. 7. 44. And why did be bob, and beate jon. The altera-
tion from Q is apparently made to utilize a neglected oppor-
tunity to make a pun. Cf. Dekker, Shoemak. Hoi. {Wks. i.
58) : 'lie so bob them' ; Taylor, The Hog Hath Lost Hs Pearl
(Hazlitt's Dodsley 2. 435) : 'Disgrace me on the open
stage, and bob me off with ne'er a penny.'
■n,g,i,7cd by Google
Expianaiory Notes 371
3. 7. 64. Smet OlJTet. Wheatley gives the foUowing use-
ful note: 'The rival of Orlando in Ariosto's epic is usually
styled "sweet Oliver" by the old writers, who never tired of
referring to these two heroes.
All the mad Rolands and sweet Olivers.
— Ben Jonson, Execration of Vulcatt.'
' One boone you must not refuse mee in (if you be boni soeii
and sweete Olivers) that you let not your rustic swordes sleep
in their scabbards, but lash them out in my qvarrell.' — Nash,
Lenten Stuffe {Harleian Miscellany) 6. 180.
3.7.73. Deue master lostice, etc. This is a particularly
valuable addition in making the situation graphic and in-
telligible.
3. 7. 79. Doe not stinke, etc. This sentence is not found
in Q. Cf. note on 3. i. 81.
3.7.81. 0. the Li»d maintayne his worship, etc. This
speech seems more appropriate to an unlettered water-carrier
than the corresponding somewhat euphuistic language of Q
(3- 3- 124)-
3. 7. 85. Sir. would I coald not leele my cans. Observe
that this takes the place of a poetical passage of eight lines
in Q. All that is necessary to the sense remains. Jonson
seems to have regarded the somewhat philosophical discussion
of 'enforced mirth' of the earlier version as a needless di-
gression, and as a temptation to be avoided. There is no
question that this practice improves the unity of tone of
Jonson 's play, since, even in Q, the predominant style is non-
romantic and judicial. With Shakespeare the situation would
have been quite different, and such sentiments as these of the
senior Lorenzo would have been altogether natural.
3. 7. 94. cap (A sacke. 'The term sack was applied to the
various white wines of Spain, but the greater part of the sack
drunk was sherry. Markham, in his English Houseteife
(p. 118), writes, "Your best sacks are of Seres in Spain, your
smaller of Galicia and Portugall. Your strong sacks are of
the Islands of the Canaries and of MaUigo." In Pasquil's
PfUinodia and his progresse to the Taveme, where, after the
by Google
372 Etiery Man in his Hwntim
survey of the seliar, you are presented with a fieasante pyule
of Poetical Skerry, we read of —
Two kinsmen neere allyde to sherry sack.
Sweet Malligo, and delicate canary.
The 'sack ' of the present day is a sweet wine, and is Inxiugbt
chiefly from Madeira and Pafana, one of the Canary Islands,
but it is supposed that the original sack was dry, becaose it
was always drunk with sugar. The waiters kept sugar ready
put up in papers for the use of their customers, and most of
the old travellers in England express their astonishment at the
sweetness of the wines as drunk by the English. Pointz ad-
dresses Falstaff as "Sir John Sack and Sugar." The ety-
mologies of the word have been various. Some derive it
from the Spanish secco, dry, and others from the goatskin
sacks in which the wine was kept. Mandelslo supposes it to
come from Xeque, a city of Mauritania, from whence it was
transported to Spain.' — Wh. See NED. for etymology.
3. 7. 95. I mnae, ronr paroell ol a sooldtor, etc. See mme
and parcM in Glossary. Cf . Case is Alt. 2. i, p. 326 : ' I muse
he spake not ' ; Cynth. Rev. 2. i, p. 238 ; ' What parcel of a
man hast thou lighted on for a master ' ; Epic. 2. 2, p. 364 : ' I
museamistresscan be so silent to the dotes of such as^-vant.'
ACT IV
4. 1. 6. Slod. Apparently a contraction and corruption
of God's lid. 'The genitive of God etc. has dwindled down
to simple 's, s, followed by the word originaUy governed hy
that genitive.' — Swaen, p. 50.
4.1.9. byttiisllght. See note on this expression, 1. 3. 63.
4. 1. 17. enezymottienHnme. This phrase is lacking in Q.
Its presence adds vigor and emphasis to Downe-right's speech.
4. 1. 19. God's mj lib. See Swaen, p. 25.
4.1.22. roold mad the patioit'st bodj in ttie mdiL
Gifiord, with justice, speaks in ridicule of the pains WfaaQcy
has taken to obviate a possible objection to his printing this
and other speeches as jxox . This method of converting prose
nigilirHbyGoOt^lc
Explanatory Notes 373
into 'a hobbling kind of measure', wbich Wballey says in-
genioos editors have employed, serves only to disgust Gifiord
Wbole scenes', says the latter, 'nay whole acts, of the most
exquisite prose, have those miserable bunglers, whose dulness
is scarce surpassed by their temerity, transmuted, by their
unwarrantable corruptions, into a. kind of jargon (metre it is
not), which would "mad the patient'st body in the world, "
to hobble through it.' See mad in Glossary, and cf. Abbott,
§ 290-
4. 2. 4. and I meane, aa welL Q repeats you say weU in
place of this phrase. The reading of F is better in adding a
second idea.
4. z. 8. He Bhoold doe it, etc. Lacking in Q. Cf . note on
3. I. 81.
4. 2. II. To mock an ape wiUialL Whalley remarks that
'A toy to mock an ape 'was a common proverbial expression,
and" quotes from the title to one of Marston's satires : 'Here
is a toy to mock an ape ,indeed.' Wheatley adds from Nash's
LenUn Stuffe {}Vks. 3. 211) : 'As good a toy to mocke an ape
was itofhym that shewed a cotmtry fellow the Red-sea where
all the red herrings were made.' See also Nash, Foitr Letters .
Confuted {Wks. i. 283) : ' A right lugler, asfuUof hissleigbtes,
wiles, fetches, casts of legerdemaine, toyes to mocke Apes
withall, odde shifts and knauish practises, as his skinne can
holde.'
4. 2. 19. What aylea thy brothei, etc. This question of
Young Knowell's, together with Well-bred's reply, are an im-
provement upon the colorless remark of Prospero'ffvhich they
supplant. Tbough vulgar, they are realistic, and furnish good
stage-talk.
4.2.21. arimetohiniiiswonetbeaobeeae. Cf.thefollow-
mg proverbs : 'Caseusestnequam, quiadigerit omnia sequam'.
Cheese it is a peevish elfe, It digests all things but itself (Ray,
1678, p. 40) ; 'Cheese to digest all the rest, yet itself never
digested ' (S. Adams, Works, p. 170) ; ' Jamais homme sage
ne mangea fromage' (Lean's Collectanea: Proverbs 1. 501);
'Cheese is physic for gentlemen and meat for clowns' (Harl,
Misc. 6. 385).
n,g,i,7c.dbyG00'^lc
374 Euery Man in his Humour
4.2.35. IndpMedake. This k a qvdhhk on insiperedmlct
in the following line. The latter phrase occurs in Horace,
Odes {eA. Loeb) 4. 12. 28: 'Dulceest desiperein loco.' It is
probable that indpere dulce was invented for the purpose of
the pun here. It must show, too, how the Latin word was
{vonounced then.
4. 2. 41. 0, the BeachenpbiufliiHraca verba, paucavnte.
' Benchers were idle sots who spent their time, sleeping and
waking, upon ale-house benches. Thus, in Sir John Oldcas&e
Part I.:
When the vulgar sort
Sit on then aUt-bmch with their cups and cans.
Prince Henry declares of FalstafI, that he is grown fat with
deeping out his afternoons upon benches ; and the parson of
Wrotham in the play quoted above, boasts of himself, that
be is become a drinker, a berKher, and a wencher {2. i.)' — W.
The pomt of the bencher's phrase, however, has been lost,
though its occurrences in literature are frequent. Cf. Epic
3. 1, p. 380 : 'Nay, good jaincess, hear me pauca verba' (see
note, ed. Henry, p. 194) ; Merry Wives 1. 1. 123 : ' Pauca verba.
Sir John ; goot worts '-.L-L. Lost 4. 2. 171 : ' You shall not say
me nay : pauca verba' ; Tarn, of the Shr., Ind. 5 : 'Therefore
faucas pallabris, let the world slide' (this ridicules Spanish
Tragedy (3.15:18}: 'Pocas palabras: mild as the lamb');
Masque of Augurs {Wks. 7, 420) : 'Hocos Pocos,' paucos pa-
labros !
4.2.43.' Ban creattue, Jetmespeakewittumtolleaoe, etc.
This is taken from Marlowe's Hero and Leander (Whs. 1. 194—
204). The passage appears to have been quoted from memory
as there are some variations from the original, which reads as
follows :
Fair creature, let me speake without offence,
I would my rude words had the influence.
To lead thy thoughts as thy faire lookes doe mine.
Then shouldst thou bee his prisoner who is thine.
Be not unkinde and faire, mishapen stuffe
Are of bebauior boisterous and ruffe.
n,g,i,7cd by Google
Explanatory Notes 375
4. 2. 47. This i> in Hero and Leaoder. Hero and Leander.
probably the latest of Marlowe's works, was left a fragment
at his death. It was licensed a few months later (Sept. z8,
1593) by John Wolf, but there is no evidence that it was
published at that time. The first edition known to exist was
issued in 1598 by Edward Blount. On March 2, 1597/8,
Blount assigned over to Paul Liniey ' A booke in Englishe
called Hero and Leander, ' and the latter published in 1598
at least one complete version of the poem, including Chap-
man's continuation. In 1600 Liniey seems to have retired
from business, and the Stationers' Register on June 26 of that
year makes £n entry for twenty-four works, among which was
Hero and Leander. Flasket published it in this same year
(1600), and again in 1606 (see Tucker Brooke's ed. of Marlowe,
pp. 485—6). 'The popularity of Hero and Leander with the
Hizabethan public was enormous. The literature of the time
abounds in allusions to the poem, and the list of early editions
is a most impressive one. There v/ere probably three separate
editions in 159S, others in 1600, 1606, 1609, 1613, 1616, 1617,
1622, 1629, and 1637' {ibid., p. 486). Wheatley quotes an
allusion to this poem in Nash's Lenten Stuffe (Wks. 3. 195) :
'Let me see, hath any bodie in Yarmouth heard of Leander
and Hero, of whome divine Mussus sung, and a diviner muse
than him. Kit Marlowe. Twoo faithful lovers they were, as
everie apprentise in Paule's Church yard will tell you for your
love, and sel you for your mony.'
4. 2. 52. Slight, he shakes his head like a bottle. Gifiord
says that Jonson borrowed this allusion from Junius, who
wrote of Sir W. Blackstone : ' I wish the honourable gentleman ,
instead of shaking his bead, would shake something out of it, '
4. 2. 55. And I in dtltie, etc. This comes from Hero and
Leander 1. 221—222 :
And I in dutie will excell all other.
As thou in beautie doest exceed loues mother.
Once more Jonson is not faithful to his source.
Q3.4.82. DoyoatotthemgosolUchtly.etc. Thispassage,
through 1. 88, is omitted in F. The punning lines add nothing
n,g,i,7cd by Google
376 Euery Man in his Httmom
to the action, and are not of sufficient interest as mere conver-
sation, to make their loss felt.
4.2.60. A tiit^'>*ing togneP hang him. And, Iran tiM
daadP it's wane Qum saorilaee. Jonson, in contrast to Ok
typical Elizabethan poets, is the apostle of originality. He
^larply criticizes the current habit of literary borrowing. As
evidence of this cf . the following : Cynth. Rev., Prol., p. 215 :
In this alone, his Muse her sweetnesse hath.
She shuns the print of any beaten path;
And proves new ways to come to learned ears;
Epigram LVI (Wks. 8. 173) :
Poor Poet-ape, that would be thought our chief.
Whose works are e'en the frippery of wit.
From brokage is become so bold a thief.
As we, the robb'd, leave rage, and pity it.
At first he made low shifts, .would pick and glean.
Buy the reversion of old plays ; now grown
To a little wealth, and credit in the scene.
He takes up alt, makes each man's wit his own :
And, told of this, he slights it;
Epigram C (Wks, 8. 203) :
On Playwright.
Playwright, by chance, hearing some toys I'd writ.
Cry d jto my face, they were th' elixir of wit :
And I must now believe him ; for today.
Five of my jests, then stolen, past him a play;
Epic. Prol., p. 332:
The poet prayes you then, with better thought
To sit ; and, when' his cates are all in brought.
Though there be none far-fet, there will dear-bought
Be fit for ladies : some for k)rds, knights, 'squires; . . .
Nor is it, only, while you keep your seat
Here, that his feast will last ; but you shall eat
A weeke at ord'naries, on his broken meat:
If his muse be true.
Who commends her to you.
Yet imitation is one of Jonson 's requisites fco" a poet. See
Discoveries {Wks. 9. Z16) : 'The tbmJ requisite in qjit poet, *
makex, is imitation, to be able to convert the substance <w
n,g,i,7c.dbyG00'^lc
Explanatory Notes 377
riches of another poet to his own use. To make choice of one
excellent man above the rest, and so to follow him tiU he grow
very he, or so hke him, as the copy may be mistaken for the
principal. Not as a creature that swallows what it takes m
crude, raw, or undigested ; but that feeds with an appetite,
and hath a stomach to concoct, divide, and turn alt into
nourishment. Not to imitate servilely, as Horace saith, and
catch at vices for virtue ; but to draw forth out of the best
and' choicest flowers, with the bee, and turn all into honey,
work it into one relish and savour : make our imitation sweet ;
observe how the best writers have imitated, and follow them.
How Virgil and Statius have imitated Homer ; how Horace,
Archilochus ; how Alcseus, and the other lyrics ; and so of
the rest.'
Cyntk. Rev., Ind., p. 211 : 'Besides, they could wish your
poets wouW leave to be promoters of other men's jests, and
to way-lay aQ the stale apothegms, or old books, they can hear
of, in print, or otherwise, to farce their scenes withal. That
they would not so penuriously glean wit from every laundress
or hackney-man, or derive their best grace, with sexvile imita-
tion, from common stages, or observation of the company
they converge with ; as if their invention lived wholly upon
another man's trencher. Again, that feeding their friends
with nothing of their own, but what they have twice or thrice
cooked, they should not wantonly give out, how soon they had
drest it; nor how many coaches came to carry away the
broken meat, besides hobby-horses and foot-cloth nags.'
Marlowe, to whom refra'ence is made here, died in 1593.
4. 2. 70. poxe an it. ' This extremely inelegant expression
enjoyed an almost imrivalled popularity tiU a change in
manners forbade its unlimited use, which was not restricted
to the society of gentlemen. At first no doubt it was a terrible
curse, but after a time it became httle else but an exclamation,
rapped out without the least desire that the terrible disease
should visit the person cursed by the speaker. Its meaning-
lessness is evident from such an expression as " Pox of mo-
destyl'" — Swaen, p. 230. Swaen cites twenty-nine illus-
trative examples showing different d^ees of intensity in
n,g,i,7c.dbyG00'^lc
378 Euery Man in his Humour
the oath. It seems to have no partknlaT significance in
the present instance.
4. 2. 71. the ttun. I do not find reference to any famous
ino bearing this name at this time, although there was a well
known one called Star and Garter in the i8th centnry. In Q
the reference is to the Miter, concerning which there is in-
formation. There have been a number of Miter Taaems of
note. This one was in Fleet Street. See Wheatley and
Cunningham, London Past and Present 2. 552. Cf. Every
Man Out 4. 6, p. 155 : 'Carlo shall bespeak supper at the
Mitre, against we come back ; where we will meet, and dimj^
our cheeks with laughter at the success.'
4.2.100. ttiat take it in snolta 10. SeesnujfeinGlossar)-.
Cf. Epic. 4.2, p. 438: 'He went away in snuS'; Poet. 2.1,
p. 393 : ' For, I tell you true, I take it highly in snufi, to learn
how to entertain gentlefolks of you, at these years ' ; i Hen. IV
1. 3- 37 ■
And 'twixt his finger and his thumb he held
A pouncet-pox, which ever and anon
He gave his nose and took't away again ;
Who therewith angry, when it next came there.
Took it in snuff.
This quotation tends to disprove Gifford's theory Aat the
expression alluded to the offensive manner in which a candle
goes out. Southey, as Henry points out (ed. Epic., p. 249),
has the better hypothesis in supposing it refers 'to a sudden
emotion of anger, seizing a man, as snuff takes him, by the
nose.'
4. 2. 102. jonll be besg'd else, sboitlri Icff a concealement.
Gifford quotes the following from Strype {Arm^s of Etixal)eth
2. 209) as illustrative of the practice of b^ging lands in Eli-
zabeth's time : "This year (1572) a command from the queen
went forth, for the withdrawing the commissions for conceat-
ments, from all to whom she had granted them, which gave
a great quieting to her subjects, who were excessively plagued
with these commissioners. When monasteries were dissolved,
and the lands thereof, and afterwards colleges, chantries, and
n,g,i,7cd by Google
Explanatory Notes 379
fraternities were all given to the crowB, some demeans here
and there pertaining thereunto were still |»ivily retained, and
possessed by certain private persons, or corporations, or
churches. This caused the queen, when she understood it
to grant commissions to some persons to search after these
coHcealmefUs, and to retrieve tbem to the crown;. ..but it was
a world to consider what unjust oppressions of the people and
the poor this occasioned by some griping men that were con-
cerned therein.'
4. 2. 105. a teston, at least. 'A brass coin covaed with
silver, first struck in the reign of Henry VIIl. The name was
given to shillings and sixpences, and Latimer got into trouble
by referring to the newly coined shillings or "testion " in one
of his sennons. In 1560 the teston of sixpence was reduced
in value to fourpence half-penny. The name testoon was
given to the new coins of Louis XIL of France because they
bore the head of that prince ; but Ruding observes that the
name must have been applied to English coin by mere caprice,
as aU money of this country bore the head of the sovereign,"
— ^Wh. The information in this note may be verified in the
following places : Leake, On English Money, pp. 180, 181, 206,
234 ; Ruding, Annals of the Coinage of Great Britain 1. 309,
313. 316. 319. 323. 333.
4. 2. 116. yon oompaniona, etc. This speech shows a
number of alterations from Q. The latter reads your com-
panions. The former occurrence of this phrase (Q 3. 4. 139,
F 4. 2. 144) seems clearly to indicate that F has made a mistake
here, and that your was the word intended by Jonson. You
was emended to your in 1640. Your hang-byes here is added
in F. Potiings is substituted for caueleeres (see these words
in Glossary). Foiling expresses the idea intended better. The
insertion of the Spanish word soldado, and the substitution
of foolado coined in imitation of the former, for fooles, add
characteristic advice for the city-gull. Get you home, instead
of the repeated get you out of Q, shows Jonson's efforts to
secure variety of phrase. And that, presently is more po-enip-
tory and vigorous than goe to of Q. See presently in
Glossary.
n,g,i,7cd by Google
380 Euay Man in his Humottr
4. 2. 121. TOO, baOid-ilnger, and ibps. Cf . the prevkMis
contemptuous allusion to ballad-singers (i. 3. 65), and to laige
breeches {2. 2.24).
4. 2. 125. eat a whetetone. Lacking in Q! See note on
3. I. 81.
4.3.21. in your hamoar. This change of courses to
humour is perhaps made to introduce another instance of
the word which is the label for the type of comedy Jonson b
interested in developing. Wtaeatley (p. xxx) has summarized
the history of this interesting word. It first had a phy-
siological sense, designating the four humors of the body,
which were supposed to exert their influence upon the mind.
In course of time the mind, as well as the body, was credited
with its own particular humors. Cf . Every Man Out, Ind., p. 16 :
So in every human body.
The choler, melancholy, phlegm, and blood,
By reason that they flow continually
In some one part, and are not continent.
Receive the name of humours. Now thus far
It may, by metaphor, apply itself
Unto the general disposition :
As when ^me one pecuhar quaUty
Doth so possess a man, that it doth draw
All hb affects, his spirits, and his poweis.
In their confluctlons, all to run one way.
This may be truly said to be a humour.
He guards against a false use of the word in the next line,
however.
But that a rook, by wearine a pjred feather.
The cable hatband, or the tnree-pikd-ruff,
A yard of shoe-tye, or the Switzer's knot
On his French garters, should affect a humour!
0, it is more than most ridiculous.
This epitomizes Jonson's conception. Wheatley ^lould be
consulted for further illustrations from literature.
Q 3. 4. 192. A lone of mine, etc. The reading of Q seems
quite as satisfactory as the altered form in F. Cf. Intro-
duction, p. Ivi.
n,g,i,7c.dbyG00'^lc
Explanatory Notes 381
4- 3- 55- Qa die, bat they bane hid liim. Bvt is equivalent
here to if not. Note that Q so prints .it, and see Abbott,S 126,
and Franz, § 566, b. Note that Q reads 1/ not at this point.
Cf, King John 5. 4. 50 : •. . . Beshrew my soul But I do love.'
Q3. 4. ZI4. thoaBbaUUndemeboiuitlliilL TboreUo holds
out a more tangible promise of favor to Pizo here thao does
Kitely to Cash in the revised fonn.
4. 4. 15. most yoa 1m stab'd by a ■ooldiet. This sentence,
lacking in Q, is a distinct addition. See note on 3.1. 81.
4. 4. 17. that Irast, that taiciiig BniKolllan. 'Foist was
one of the thousand cant terms for a cut-purse. Burguilian,
or Burgonian, means a bully, a braggadocio ; in allusion, Haw-
kins says {Origin of the English Drama 3. 81), to the Bastard
of Burgundy, who was overthrown in Smithfield by Anthony
Woodville, I467.'-~G. Cf. Greene, Disc. Coz., Pref. : The
Foist, tiie picke-pockets (sir reuerence, I meane).'
4.4.21. I haoa it bete in black and white, etc. This de-
velopment of the idea implicit in sause of Q is useful. It be-
comes clear now that Cob, who has been belabored, is to seek
revenge by means of his warrant.
4. 4. 22. old btaoa Troian in Londrai. Trojan is used here
as a type of honesty and trustworthiness. Wheatley thinks
the national liking for the Trojans probably originated in the
once prevalent notion that Brut, the descendant of i£neas,
was the founder of the British people.
4. 4. 29. wile, no body in, to yon: those aie my wordB.
This additional warning, not found in Q, helps to suggest
Cob's jealous temperament.
4. 4. 32. yoa bane flesh and blond ouni^, etc. The re-
vised form of this sentence helps to make certain the meaning -
of the original in Q. There, so far as the form of the sentence
was concerned, it might have meant: 'You have sufficient
physical resources within you to overcome temptation ; there-
fore do not be tempted, but close the door upon intruders.'
The real meaning, however, as F shows, is : 'You have the
physical propensities within you which make it possible for
you to be tempted ; therefore close the door upon intruders.'
n,g,i,7cd by Google
382 Every Man in Ms Humour
Jonson's academic type of mind enables him to see where bis
language fails to convey the idea intended, and often how to
correct the dif&culty.
4. 5. 3. ttieil best tacoUies. Cf. Uteir best habit of Q.
4.5.10. BUlkeitnoiliiestioiL Equivalent to m<iA«»o}iief-
tion, or question it not. See Abbott, § 226, and Franz, §295.
4.5.19. moid, ami mvthbelide. Thisavowalofyomig
Knowell's is the nearest approach to a love-motive which this
play reveals. His intrigue with Bridget, however, ha^no im-
portance as such, and forms an integral part of the play ovAy
as one additional instance of the way old Knowell is duped.
4. 5. 21. except I ctmoeia'd, etc. Except is equivalent to
unless here. Q reads vnlesse.
4. 5. 34. and doe beleeoe. etc. This conhdent statement
of young Knowell's is more in keeping with Well-bred 's im-
mediately preceding remark than the petition of Q,
Q 4. 1. 10. ol men. Men is clearly a mistake, and F cor-
rects to me.
4.6.17. Iam,pariIy,o' the laitb. 'tis K) indeed. Thisex-
in-essioD of doubt on Brainworm's part would probably seem
fuimier to an audience than the positive statement (Of Q.
Q. 4. 1.25. where the loimd. rA« is clearly a mistake for
ifey, and Js corrected in F.
4. 6. 27. Ton dioald tatber aske, etc. Whalley remarks
upon this passage that there seems to be an antithesis intended
between voice and man. Bratnworm tells his master that be
heard several voices calling him, and when he enters the house
these voices were personihed and turned to men. Gifford adds
that, if Whalley's conjecture be right, Jonson must have
altered the passage solely for the sake of introducing this
strange opposition of terms. It should be added furthCT that
the form of Q is better than that of F.
4. t). 32. thjr seem'd men. Thy is clearly an error here.
The folio of 1640 emends it to 0iey. See text and variants.
Q4. 1.30. out Dies their tapiers. It is a common practice
in Elizabethan English to employ a singular verb with a plural
subject. Cf. Abbott, § 333, and Franz, § 155. The verb is
changed to flue in F.
n,g,i,7c.dbyG00'^lc
Explanatory Notes 383
4. 6. 38. made an Anatomle 0' me. See Anatomie in Glos-
sary. Cf. Case is Alt. 4.4, p. 367: 'Would you make an
anatomy of me?'
4. 6. 53. TesP Eniusi1)le. This takes the place of 'when
can yon tell ' of Q. The new form emphasizes the trick to be
played on Knowell, and is better.
4.6.68. tomylosse: andezpenoe(daIl,afaiUHi Lacking
in Q. See note 3. i. 81.
Q 4.1.66. yon MToises. You is evidently a mistake;
Grabau emends it to your.
4.6.76. oraeeStStHile-end. Mile end in the 12th century
was still ' the country ', and a resort of Londoners for fresh air,
cakes, and ale. — See Wheatley and Cunningham, London Past
and Presents. 540. Cf. Beau, and Ftet., Knight of the Burning
Pestle 2. 2. 1 :
Mistress MerrythougfU. Come, Michael; art thou not
weary, boy?
Michad. No forsooth, mother, not I.
Mist. Mer. Where be we now, child ?
Michad:' Indeed, forsooth, mother, I cannot tell, unless
we be at Mile-end; Is not all
the world Mile-end, mother ?
Mist. Mer. No, Michael, not all the world, boy; but I
can assure thee, Michael, Mile-
End is a goodly matter,
4.6.81. cap ot neate grist. See Glossary. Note the pun
two lines below.
4. 6. 81 . to the Trind-^nilL See note on mnd-mill, i . 2. 93.
Q reads Meeremaide here. The fame of the Mermaid Tavern
as a rendezvous for literary men is familiar to all. GifEord
thus described the club at the Mermaid in Jonson's time
(Jonson, Wks. i, pp. Ixv— vi) : 'About this time {1603) Jonson
jffobably began to acquire that turn for convivi^ty for which
he was afterwards noted. Sir Walter Raleigh, previous to
his unfortunate engagement with' the wretched Cobham and
others; had instituted a meeting of beaux esprits at the Mer-
iQaid, a celebrated tavern in Friday-street. Of this Club,
which combined more talent and genius, perhaps, than ever
n,g,i,7cd by Google
384 Euery Ma» in his Hunumr
met iogetber before or sioce, onr author was a membei''; and
hae, for many years, be regularly repaired with ^laVespeare,
Beaumont. Fletcher, Seldeo, Cotton, Carew, Martin, Donne.
and many others.'wbose names, even at tbis distant period
can np a mingled feeling of reverence and respect.' Beau-
mont, in a celebrated letter to Jonson, writes with enthusiasm :
What things have we se^i
Done at the Mermaid T beard words that have been
So nimble, and so full of subtle flame.
As if that every one from whom they came
Had meant to put his whole wit in a jest.
Keats' familiar lines also recur to mind:
Souls of poets dead and gone.
What Elysium have ye Imown,
Happy field or mossy cavern,
Gioicer than the Mermaid Tavern ?
4. 7. 1, the like downe Ol him. Of is often so used after
iHu. See Abbott, § 177, and Franz, § 513, h. am.
4. 7. 3. hit paralelL His like, the readii^ of Q, is simplw
than that of F. Cf. Introduction, pp. xliv, xlv.
4. 7. 17. imnto. Not found in Q. See Glossary, A pun
is made here upon the two senses of the word. See note on
'your Punto, yoar Reuerso', etc. (4.7.82}.
4. 7. 21. Vpon mr tint oomming to Uie dtie. This line
comes from 1. 1x4 of Q, while at this point in Q nay for a
more instance, etc., appeaxs. which is found in Fat 1. 45. The
change was perhaps made because the second experience was
more in keeping with 'their preposterous natures'.
4. 7. 22. alter mr long tnraaUe, lot knowledge (in ttitt
myitvle only). Not in Q ; see note on 3. i. 81.
4. 7. 30. in diameter. Not in Q. See Glossary.
4. 7. 43. Tbii is Btcange, and barhannu. Q reads vile in-
stead of barbarous. The change is po'haps made in F to avoid
a repetition of vile, which has been inserted in the previous line.
7. 4. 46. They hane assaalted me ... in diners skizts i' flu
towns. Gifford conmients here upon the way in which Boba-
dill, in boasting of his courage and intrepidity, is led to betray
n,g,i,7cd by Google
Explanatory Notes 385
the nature of his f uniliar haunts, and thus falsify all his claims
to gentility and fashion. See following notes on Tume-buU,
WhiU-ckappeU. Shore-diick.
4. 7. 48. Tame-lmlL 'Tumbull Street (properly Tuminill
Street), between Clerkenwelt Green and Cow Cross, and long
a noted haunt for harlots and disorderly people.' — ^Wheatley
and Cunningham, London Past and Present 3. 411. 2 Hen-
ry IV 3. 2. 326 : 'This same starved justice hath done nothing
but prate to me of the wildness of his youth, and the feats he
hath done about Tumbull Street.'
4. 7. 48. Wbito-ohappelL 'A parish lying east of Aldgate
originally a chapelry in the parish of Stepney, but constituted
a separate parish in the 17th century. . . . Till within me-
mory the district north of the High Street — extending from
Petticoat Lane to Osbom Street, and stretching back to (and
including) Wentworth Street — was one of the very worst loca-
lities in London ; a r^ion of narrow and filthy streets, yards
and alleys, many of them wholly occupied by thieves' dens,
the receptacles of stolen property, gin-spinning dog-holes, low
brothels, and putrescent lodging-houses — a district unwhole-
some to approach and unsafe for a decent person to traveise
even in the daytime.' — Wheatley and Cunningham, London
Past and Present 3. 499.
4.7.49. Shote-diteb. 'A manor and popolous parish, at
the northeast end of London, between Norton Folgate, Hoxton,
and Hackney. . . . Shoreditch was formerly notorious for the
easy character of its women. To die in Shoreditch was not a
mere metaphorical term for dying in a sewer.' — Wheatley and
Cunningham, London Past and Present 3. 243. The reputatiai
of Shore-ditch is sufficiently illustrated by Nash, in Pierce
Penilesse {Wks. i. 2z6) : 'Call a Leete at Byskopsgate, and
examine how every second house in Shorditch is maintayned :
make a priuie search in Southwarke, and tell me how many
Shee-Inmates you finde. . . . Lais, Cleopatra, Helen, if our
Clyme hath any such, noble Lord warden of the witches and
inglers, I commend them with the rest of our vndeane sisters
in Shorditch, the SpiUle, Southwarke. Westminster, & TwrOmU
streOe, to the protection of your Portership.'
n,g,i,7cd by Google
386 Euery Man in his Humour
4. 7. 69. were I knowoe to her Haiestle, and the Lanli. Q
reads fo ihe Duke. Cf. Introduction, pp. bdv, Ixvi, Ixviii.
4. 7. 80. a oharscter. See Glossary, and observe that Q
reads trick.
4. 7. 8z. Qie Bpecdall roles. Rules seems more appropriate
to the vain Bobadill, with his parade of knowledge, than tricks
of Q.
4. 7. 8z. roar Panto, roar Beaarao, etc. The punto was
a variety of thrust (See Castle, Schools and Masters of Defend,
pp. 64—68), The 'punta riversa' was dehvered from the left
side, and might be directed to any part, high or low (Saviolo).
See Glossary for reuerso. See note on i. 5. 116 foi stoccata.
The imbrocaia reached the body over the sword, hand, or
dagga*, traveling rather in a down>vard direction, and was
delivered evidently with the knuckles up, except in the case of a
• volte '. It evidently corresponded pretty closely to our thrust
in 'prime' or 'high tierce' (Saviolo). See Castle, p. 84. See
montanto in Glossary. Cf. Beatrice's appellation of Signlor
Mountanto in Much Ado 1. 1, 30. Cf. Merry Wives a. 3. 26 :
'To see thee pass thy punto, thy stock, thy reverse, thy dis-
tance, thy montant.'
4. 7. gz. that'i twentie Kon. Th!s is doubtful arithmetic.
Gifiord remarks ; 'Bobadill is too much of a borrower to be
an accurate reckoner.'
4. 7. 96. gentleman-like oareasie. This is a more appro-
priate expression for the grandiloquent Bobadill than tife
of Q.
4. 7. 97. br laire, and discreet manhood, fliat ii, citUUr tv
Qie sword. Lacking in Q ; see note on 3. i. 81.
4. 7. 107. doe his mind. For if 0 as a transitive verb, see
Abbott, § 303, and Franz, § 5930, m. r.
4. 7. 124. gipsie. Lacking in Q. Gipsy was a term of re-
proach. See Glossary.
4. 7. 129. I had a warrant Jonson corrects here the in-
coirect haue of Q.
4.7.145. Iwaistroohewithaplannet. 'It was a constant
practice of the old physicians to attribute to the action of the
stars certain diseases which they did not understand, and in
n,g,i,7c.dbyG00t^lc
Explanatory Notes 387
the bills of mortality sudden deaths were frequently entered
as Planet sfrucken. Ibis entry was sometimes shortened to
IHanet. In 1632 thirteen persons were planet struck. In
1661 three. In 1687 five peisons were entered as 'Planet and
Blasted ', and in 1690 one as " planet struck ". See Observa-
tions .on the Bills of Mortality, by Captain John Grant (re-
printed in [Heberden's] Colleton of Yearly Bills of Mortality,
1657-1758, 4" 1759)'.— Wh. Cf. Every Man Out 2. i, p.6o :
O, I am planet-struck, and in yon sphere
A brighter star than Venus doui appear :
ibid 5. 7, p. 193: 'Some planet strike raft dead.'
4.7.148. get yoa to a nilgean. The singular form of the
noun is better here than the plural of Q.
4. 7. 151. that Natnre should bee at leisnue to make bem.
Not in Q; see note "on 3. i. 81.
Q4. 1.217 Adnlse yoa ooseo, etc. See oifutse in Glossary.
F substitutes take heed. The sentence is less vague in F.
4. 8. 22. Hrwile dnmke to me, last; and cbang'd the cap.
Whalley calls this a 'remarkable case of Italian manners still
[ffeserved, ' which Jonson forgot to change. Gifiord, however,
(pp. xxxvi— xxxviii) clearly shows that enough poisoning had
been j^actised in England to render it unnecessary to call this
30 exclusively Itahan custom.
4. 8. 25. mithridate. Mithridates, King of Pontus, was
said to have invented an antidote against poisons. He him-
self had so saturated his body with poisons that it was believ-
ed that none could injure him. — See Encyc. Brit. Wheatley
notes that a compound called 'Mithridate' was included in
tbe London Pharmacopceia till 1787.
4. 8. 47. idwo, I thhike, I-am sidnP toej lioke. Not in
Q : see note on 3. i. 81.
4. 8. 54. tha srist Cf. 4. 6. 81, 84.
4- 8. 55. when so I manbal'd. / so, the reading of Q, is
better. Giflord emends to the original form.
4. 8. 70. the tow. The Tower, as Giftord points out, was
extra-parochial, and used for private marriages.
4. 8. 75, I must goe lorth, Thranaa. etc. This passage is
n,g,i,7cd by Google
388 Eu^y Man in his Humotir
similar to one in Dev. is an Ass (2. i, p. 47), where Fitz-
dottrel instructs Pug in the manner be ts to guard the boose
in his absence :
You hear. Devil,
Lock the street-doors fast, and let no one in, . . .
Your mistress is a fniit that's worth the stealing.
And therefore worth the watching, etc.
4. 8. 116. a idagne ol all oanue. White lead, or cemssti.
was used by the Roman women to whiten their complexions.
' Ceruse, ceruse or white lead, wherewith women paint ; di&is
from lithaige (called also white lead], for this is made of the
grossest lead, as it is in the mine ; that of lead refined, out of
the mine.' — Cotgrave, 1611. Ovid mentions it in his treatise
on the care of the complexion. See Medicamina Faciei l. 73:
Nee cerussa tibi, nee nitri spuma nibentis
Desit, et iUyrica quae venit iris humo.
Cf. Sej. 2. 1, p. 41 : 'Tis the sun. Hath giv'n some little taint
unto the ceruse.' Jonson adds the following note on this
passage. 'Cerussa (apud Romanos) inter fictitios colores
erat, et quae solem ob catorem timebat. vid. Mart. Lib. II,
Epig. 41.
Quam cretata timet Fabnlla nimbum,
Cerussata timet Sabella solem.'
This was evidently a subject in u^ich Jonson took an interest.
Cf. Dev. is an Ass 3. i, p. 87:
Of a new kind of fucus, paint for ladies.
To serve the kingdom.
Briggs (ed. Sejanus, p. 223) quotes the following interesting
note to 3. 2 of The Maid's Revenge, in Dyce's edition of Shir-
ley: 'The frequent mention of fucuses, cenisses, and other
'cosmetics by our old dramatists, shews how much they were
used in their times ; that they were often composed of the
most dangerous and delet^ious ingredients is sufficiently
proved by the numerous recipes for their composition to be
found in the manuals compiled for the instruction of the
housewives and ladies of fashion of those days : the following
n,g,i,7cd by Google
Explanatory NoUs 389
exlract shows a tolerable specimen. "Another mineral fucus
for the face. Incorporate witb a wooden pestle, and in a
wooden mortar, with great labour, four ounces of sublimaie,
and one ounce of crude mercury, at the least six or eight hom-es
(yoa cannot bestow too much labour herein) : then, with often
cjiange of cold water, by ablution in a glass, take away the
salts from the sublimate ; change your water twice every day
at the least, and in seven or eight days (the more the better)
it will be dulcified, and then it is prepared ; lay it on with the
oile of white poppy." — Delights for Ladies to adome their Per-
sons. Tables, etc. etc., by H. Piatt, 1628.' Of is used in the
sense of on. Cf. Abbott, § 175, and Franz, S 407-
Q 4. 1. 336. TTbat ny yon sistar, etc. This is a confused
sentence. It becomes intelligible when read 'what . . . shall
I intreate so much fauour of you for my friend [who] is tolo]
direct and attend you to his meeting [t. e. to a meeting with
him].' .
4- 8- 14s- tlui Tillaine don me. See Glossary. Gifford
niaijttains that this verb is connected with the noun dor
which means chafftr, and that the allusion is to the desultory
flight of this insect, which appears to mock, or play upon, the
passenger, by striking him on the face, and then flitting away
jweparatory to a fresh attack. He quotes in this connection
from_Cowley (Essays of Liberty) : " A hundred businesses of
other men fly continually about bis head and ears, and sfrike
him in the face like dorres.' NED., however, regards Gifford's
conjecture as unlikely.
4. 8. i6i. Note the conversatron of Q, omitted in F, after
Kitely's departure. Cf. 5. i. 29.
4. 9. 16. deUe yottr base wood. This is perhaps, as
Wheatley suggests, a pun upon boston, the stick with which
a bastinado was given.
4- 9- 18. I wai fiudnated, etc. See fascinate in Glossary,
and note that bewitch, its synonym, is employed in Q. The
repetition of fascinated and the introduction of vn-mtch'd
make the sentence more emphatic than in Q.
4- 9- 41- a brace d aageUs. See Glossary. Cf. Tale of a
Tub I. 3, p. 137: ' There are a brace of angels to support yoo ' ;
n,g,i,7cd by Google
390 Euery Man in kis Humour
Epic. 3- 2, p. 391 : ' Sir, there's ao angel for yourself, and a
brace of angels for your cold.' 'The appearance of this word,
abbreviated from the coin's fall designatioo, the angetooble,
isgenerallythesignalforapun.' — Henry(ed. E/>M;.,p.204). No
pan seems intended in the present instance. Cf. five cromnes
of Q.
4. 9. 43. not a erom. See Glossary. The word invited
quibbling. Cf. As You Like It z. 4. 11 : 'I had rather bear
with you than bear you ; yet I should bear no cross if I did
bear you, for 1 tfainke yon have no money in your purse.'
4.9.45. wine, and ndiib. See note on i. j. 168. Qreads
'wine and cakes.'
4.9.48. IHpawneflUxlnrellinmrflam. Cf. this and the
other allusions to pawning in this scene with the note on the
pawnbroker, 3. 6. 53. The reference to the earring reveals
another of the affectations of the city'^11.
4.9.63. iilk»4iiS9et, laid about witttrotset boa. Seemsset
in Glossary. Russet in the l6tb century was especially in-
dicative of country people. See Planch6, Cyd. of Cost.
1. 438-
4. 9. 68. who will joa hau to senie it F varies &om Q
here to line 75. The development in F of the motive of how
the warrant should be served, by means of a brisk bit of di-
alogue, is an improvement, and affords Jonson one more op-
portunity of revealing Bobadill's cowardice.
4. 10. 61. good-wile BA'D. Probably a pun is intended
here upon good and bad.
4. 10. 63. apple-egoln. See Glossary. Cf. the foUowiog :
Case is AH. 4. 4, p. 365 : '111 be Intimate and silent as an
apple-squire.'
4.10.67. llioiighldoetastfliiaasatrlck. Cf.Q.l.65. The
expansion in F is useful in making it clear that Old KnoweO
feels that he has been justly punished for the deception he
played upon his son.
4. 10. 8z. Ii'bflL This is the only time Cob's wife is so
called. This occurrence of the name is our authority for sup-
posing Tib to be a nickname for Isabel.
4.10.84. Friend, know flomeoaaae, etc. Knowell's inter-
n,g,i,7cd by Google
Explanatory NoUs 391
vention in behalf of Cob's wife shows considerably more energy
and zealous interest than the milder language of Q.
4. 10. 86. WbyP ia ttien no cause. This and the two
following speeches added in F give more animation to the
scene at this point than the single speech of Cob in Q.
4. II. 2. SnieantS gowoe. Gifbrd writes that the gown
was the badge of the Serjeant's or varlet's office, and as well
known as the mace ; indeed, that he never appeared in pubUc
without it. He quotes also the following : 'Speculations on
Law, 1788 ; How chances it that our bailiffs have departed
from the antient practice in all civilized countries, of wearing
the hvery or badge of their employment. The varlets or
strjeants, as they wae called formerly, were distinguished by
their habit: they used "no counterfeits", says Ben Jonson.
It appears beneath the dignity of the law that they should :
no part of justice, I humbly conceive, ought to be acted in
masquerade — that would be to make mummers of its inferior
ministers ; dangerous mummers indeed I for they pass now in
aU manner of disguises, and instead of the " mace ", the sober
symbol of civil power, parade it with bludgeons and concealed
weapons. . . . Besides, who shall dare to insult or oppose the
avowed and liveried officer of justice in the execution of his
duty.' Cf. varlet's suit of Q.
4. II. 6. bearing the diminotiaacd a rnaoe. The mace was
the sign of authority of a city sergeant, which he always
carried with him when he arrested a man for debt. Gifiord
cites the two following iUustrative quotations : Shirley, Bird
in a Cage (ed. Dyce 2. i. 397) : 'Are you in debt, and fear
arresting ? you shall save your money in protections, come
up to the face of a serjeant, nay, walk by a ^oal of these
mankind horse-leeches, and be mace-proof ; Chapman, Alt
Fools I, 129 (ed. 1873) :
If I write but my name in a mercer's book,
I am as sure to nave, at six months' end,
A rascal at my elbow with a mace.
4. II. 10. by his gome. Not in Q. Jonson makes ex-
plicit in this second version what in the first one was bidden
in his own mind and in the minds of his characters.
n,g,i,7cd by Google
392 Emry Matt in his Hitmouf
4. II. 20. aiora liee bee nnze. Q reads before hee bevare.
Beware is probably the two words be and ware ruD togetfao-
in printing.
4. II. 22. muter Dowiie4i^it,etc. Cf. IntrodnctioD, pp-
xxxviii, xxxix. F is improved throughout to the end of this
scene by wise condensation and by a few useful additioos.
4. II. 22. i* file qneeoei name. Cf.Q, andseelntroducticHi
pp. Ixiv, Ixvi, IxViii.
4. II. 23. and mnst oany 70a alote. etc. Not in Q ; see
note on 3. i. 81.
4. II. 32. here a oomee. For a in place of he, see Abbott,
§ 402, and Franz, § 210, . He was changed to a through the
rapidity of Elizabethan pronunciation.
4. 11.32. fliiB is be, offioer. Observe that the position of
office in the sentence b changed. It is not always possible
to divine the exact reason for all of Jonson's alterations, but
it is certain that he reflected upon the most minute details.
4. II. 34. tUtcbei. This is more appropriate to the con-
text than fiincher of Q. See Glossary. I^ is probable that
transposition has occurred in Q, and that it should read turned
a fiincher to convey the intended meaning to a modem reader
4. II. 40. hei MaleBtie> name. Cf . Q, and see Intro-
duction, pp. bdv, Ixvi, Ixviii.
4. 11.43. Ooe bebm, master Initice CUment. Cf. Q.
Emphasis is gained here by the condensation. Observe that
the false coomia before master did not appear in Q ; the folio
of 1692 was the first to correct it (see variants).
4. 11.46. make the Itutice. See m<ut« in Glossary, and cf.
'prepare the doctor' in Q.
4. II. 55. serne roar tniDa, mnr, lir. Notice how Jonson
alters the position of now in the sentence from Q, to subserve
a different and more useful purpose.
4. II. 60. lie ha' 70a auBweie it, lir. This takes the placa
of three speeches in Q. Nothing is lost by the change.
4. II. 77. Hnst I goe. From this point on to the end of
the scene the material is new in F. It serves to enhance
Steidien's stupidity, and to make his amusing discomfitures
plain.
n,g,i,.i.dj,y Google
Explanatory Notes 393
4. II. 83. It is bat a whippins nutter. Whipping was a
familiar mode of punishment at this time ; both men and
women were whipped on their naked backs for a variety of
punishments (see Timbs, Curiosities of London, p. 63). Ward,
to describing a visit to Bridewell [London Spy, April, 1699,
p. 9), writes : 'Prethee Friend, said I, to a Surly Bull-neck'd
Fellow, who was tliumping as Lazily at his Wooden Anvil,
as a Ship-Carpenter at a Log in the Kings-yard at Deptford,
what are you confined to this Labour for ? My Hempen
Operator, leering over his Shoukler, cast at me one of his
hanging Looks, which so frighten 'd rae, I step'd back for fear
he should have Knock'd me on the Head with his Beetle,
Why if you must know, Mr. Tickle-Taite, says he, taking me,
as I believe, being in black, for some Country Pedagogue,
I was committed hither by Justice Clodpate, for saying I had
rather hear a Blackbird Whistle Walsingham, or a Peacock
Scream against Foul Weather, than a Parson talk Nonsense in
a Church, or a Fool talk Latin in aCoffee-House: And I'll be
Judg'd by you, thtU are a Man of Judgment, whether in all I
said there be one Word of Treason to deserve Whipping Post '
(prisoners were whipped within Bridewell for offences committ-
ed without. See Timbs, p. 63).
Q 5. 1. 192. messago. This is doubtless a typographical
error ; F corrects it. Grabau {see Introd., p. xiii) changes it to
the unintelligible reading massage, which again may be a
printer's error.
ACT V
5.1.22. BO be vs'd himseUe walL Q reads wse. The pun
on the word is plainer when the same form is preserved.
5. 1. 29. Who gaoe yon knowledge, etc. Adolf Buff (Eng-
lische Studien 1. 181 fi. gives an interesting article on this
passage. It will be recalled that Wellbred wanted to take
his sister-in-law Bridget to an appointed place, to get hec
married there to Young Knowell. Bridget lives at Merchant
Kitely's, her brother's house. Neither he nor his wife knows
of Wellhred's plan, and Wellbred wishes it to be kept from
n,g,i,7cd by Google
394 Euery Man in his Humour
them. He accordingly (4, 6) gets them both out of the way,
by sending them to Cob's house, each filled with suspicions
of the other's fidehty. After they depart, Wellbred and Brid-
get leave also. Kitely and his wife meet before Cob's house,
mutual recriminations ensue, and finally Kitely invites her
and all the others before a justice. In the present con-
versation Kitely tells Clement (1. 34) that Wellbred has gone
with Bridget. Ludwig Tieck, in a manuscript note (now to
be found in a copy of Gifiord's Jonson in the British Museum.
No. ijyjitt., vol, I, p. 147) remarks : ' Wie weiB Kitely, daB
sie fort sind ? ' He left the house first, and no hint has been
given him of their later departure. Bufi points out that Q
helps to explain the difficulty. In Q (5. 1. 61—78) occurs a
passage not found in F. GiuUlano (Downright) entos and
asks first for his cloak and then for Hesperida (Bridget).
Thorello (Kitely) asks at once if she is not at home, and is
told immediately that she is away, nobody knows where.
Kitely instantly springs to the conclusion that she is unvirtu-
ous. Buff observes that this is not sufficient explanaticHi,
since Downright-Giulhano did say that Wellbred-Prospero
went with his sister. This may have been oversight on tiie
part of the poet or the editor. At any rate, it gives Kitelj--
Thorello opportunity to secure information of which he is af-
terwards possessed, and is one instance of Q helping to exfdain
F. Downrigbt's appearance in Q in this scene is abrupt and
awkward, and was accordingly eliminated in F, but Jonson
forgot, apparently, to leave out the passage (5. i.) which re-
ferred to it. A furth^ query arises. How did Justice Clem-
ent know that some one had given Kitely knowledge of his
wife's being at Cob's house ? Q, once more, has additional
information. There (4.1.3491!.) Gement is present when
Kitely-Thorello is told by Wellbred-Prospero that his wife has
gone to Cob's bouse. This previous knowledge makes it
natural that Clement in the present instance should suspect
that Kitely's and Dame Kitely's jealous fancies have been
worked upon.
5. 1. 38. Tes, most pittitallr, and 't plUM 700, etc. This
and tlie two ensuing speeches are lacking in Q. In tfae latto*.
n,g,i,7c.dbyG00'^lc
ExftantOory Notes 395
JoDson does not allow Tib to answer Clement's question, but
passes at once to the next matter.
5. 1. 46. tate downe my armor. Q reads fetch me, etc. F
suggests that the aimor was hanging in sight on the stage.
5. 1. 48. gine me my gorget. The name garget was used
for various articles of dress, both civil and military. The more
usual signification is a piece of armor resembling a collar.
The name was used frequently in Henry VIII's reign, but
without definite description, Strutt says {Dress and Habits)
1. 175) : 'I do not think the gorget was ever universally used,
and probably it is for that reason we know so little about it.'
As early as 1580, also, the gorget was simply a ladies' kerchief
worn upon the bosom. See Planch^, Cyclo. Cost. i. 215, 216 ;
Fairholt, Cost. in. Eng. 2. 194. Gorget retains its military sense
here.
5. 2. 7. vndnilly wrong'd, and beaten, by one Downe-rightt
a ooDiselellow, about the towne, here. Cf. Q. PerhapsBoba-
dill was made to say vnciuiily rather than violently in F be-
cause such an expression wouM be more in harmony with his
ladylike nature. His true feelings are shown better by course
fellow than by the gallant of Q, and there is an innuendo in
tdmut the towne which is not possible in of the citie.
5. 2. 13. laid me along. See lay in Glossary. This is a
more forceful expression than beaten of Q.
5. 2. 24. Tpon your wcffsliipB warrant, Q reads v^oMorest.
Note that F avoids in a variety of ways the rather frequent
repetition of the word aresi of Q. Cf . 5. 2, 29 ; 5. 3. 29. The
two foUowing lines, in which the warrant is further discussed,
are naturally lacking in Q.
5. 2. 28. Set by ttiis picture. Cf. 5. 5. 51, where Matthew
is called the 'picture o' the Poet.'
5. 2. 29. are you brought Cf. Q, and note on 5. 2. 24.
5. 3. 14. let this breath a while. See breaih in Glossary.
5. 3. 29. He did not seme it Cf. Q, and note on 5. 2. 24.
5. 3. 44. 0, good your wraship. Cf. Abbott, § 13, and
Franz, § 328.
5. 3. 58. Nay, sir, U yoa will commit mee, etc. This sen-
tence is much improved over the longer, clumsier, and kss
by Google
396 Euery Man in his Humour
coherent one of Q. Musco's spoken determination to reveal
his identity is omitted, because the whole recognition-scene
is differently managed in F.
5. 3. 60. anr gn^Ba ol my bune oertaiiie. The transposi-
tion of adjectives from their natural positions was common
in Elizabethan Ei^lish. Cf. Abbott, § 419.
Q 5. 1. 306, The two texts differ considerably from this
point up to I. 367 (F, 1. 88). The salient differences are in-
dicated in the following notes.
Q 5. 1. 309. discbdme in my Tocatkm. See disciaime in
Glossary. Cf. Sad Shepherd i. 2, p. 243 : '. . . The sourer sort
Of shepherds now disclaim in all such sport.'
Q 5- 1- 309. He disconer. See discouer in Glossary.
Q 5. 1. 313. Why? when knane, etc. This passage, up to
line 322, is omitted in F. In the latter, Brainworm gives no
hint of his true identity before Old Knowell recognizes him.
The dramatic gain is considerable. Jonson has evidently
come to feel that the resolution in this fifth act can best be
effected by a rapid movement, and the omission of all un-
necessary details.
Q 5. 1. 328. till ttie pn«tesi9 ol my tale be ended, etc.
This is replaced in F by the shorter and more apiHX}|»iate
both with your sword, and your baUance.
Q 5' I- 333- Itespeak yonr patienoe in perttonler. Cf. F.
The same kind of pruning takes place here, and to good
purpose.
S- 3. 64. with my oosaen Edward, and L / was somettmes
used for me. Cf. Abbott, § 209.
5- 3' 72- Sir, il yoall pardon me, <mly. The only is |m>b-
ably transposed here from its more natural position before the
verb, in accordance with a familiar Elizabethan practice. See
Abbott, § 420. Nicholson remarks that this was at this time
a common form for "Only pardon me,'
Q 5. 1. 340. Indeede thii is it will make a man gpeake
treely. This long disclosure of Musco's exploits is not found
in F. The necessary information r^arding Brainworm's
series of deceptions is revealed in four short speeches {11. 72,
n,g,i,7cd by Google
Explanatory Notes 397
78.85.94)- The change provides greata: realism, rapidity of
action, and interest.
5.3.92. Howl ni7 sister stolne away. The discbsuie of
young Knowell's marri^e contained in this and the two
following speeches is lacking in Q. At this point in the latter.
Doctor Clement asks that Prospero and Wellbred be sum-
moned from the Mennaid, where they are at supper. The
motive in F has more point, and the exphcit statement of
Young Knowell's marriage is fitting in this fifth act, the
function of which is to effect a denouement of tlie plot by a
series of surprising revelations,
Q 5- !• 377- When Is Loieiuo, and Pro^ero. Cf. Abbott,
§ 335. and Franz, §§ 155, 156-
5. 3. 99. Blarie, ttut will I, etc. The matter of this speech
naturally differs from that of Q, since the nature of the con-
versation just preceding has been altered,
Q 5. 1.380. name them lieUwr. See wame in G]ossaxy.
Cf, K. John 2. 1. 201 : 'Who is it that hath wam'd us to
the walls ? '
Q 5. 1. 396. Proh. saperi ingenitiia magnom aois noecit
Bxaaenm, diss eetemiim si latoisset opos. The last half of
this quotation is to be traced to Ovid's Ars AmatorialfiA. Eh-
wald) 3. 412 :
Cura vigil Musis nomen inertis habet.
Sed f amae vigilare iuvat : quis nosset Homerum,
lUas aetemum si latuisset opus.?
It would appear either that this is a hybrid quotation, and
that Jonson's memory played him false at this point, or that
he definitely made up the first part of the line for his purpose
here. Pro swperi occurs twice more at least in Ovid, but in
other contexts {Met. 6. 472 ; Trist. i. 2. 59). In Rem. Amor.
365 also occurs the following line : ' Ingenium magnl Uvor de-
tractat Homeri.' There would beafamiUar collocation of words,
then, for Jonson either to parody or to quote inaccurately
from memory.
5. 3. 112. And I will ouisider thee, etc. This passage has
little in common, in its foim, with the corresponding one in
Q ; the function of both is to praise the cleverness of Brain-
n,g,i,7cd by Google
398 Euery Mom in his Humom
wonn, and this is more effectively managed in F. The omis-
sion of tfae Latin quotation, which has but a remote appli-
cability here, is wise, and the definite assertion that Rain-
worm deserves to be pardoned for the wit of the offense makes
|dain what is only implicit in Q.
5. 3. 115. Irat deBernet to bee pudon'd Ira the wit o' Ou
cttnuw. This illustrates, in small compass, a considerable
part of the so-called moral method of Jonson. Not infre-
quently in hb plays cleverness becomes its own reward, rather
tiian the Puritanical virtues. Miss Woodlaidge has clearly
illustrated this point in her Studies in Jonson's Comedy, pp.
28—29 ■ 'This is simply not true (i. e. that Jonson always en-
forces a moral lesson), although he himself does with great
emphasis and entire sincerity assert that the duty of the
comedian is to punish vice .... Jonson did indeed teach
and scourge, but not Always did his teaching inculcate mo-
rality or his scourging lash the scoundrel as such. On the
whole, his efforts are directed quite as much against Intel
lectual weakness as against moral, and he preached quite as
emphatically from the text "don't be a fool" as from the text
"don't be a knave", while, if we except his tragedies, the
weight of emphasis is rather on the first than the second. . . .
In Every Man in His Humour there are a number of rogues
and a few honest men, but the line of division is drawn, not
on a basis of honesty, but on a basis of wit. The three witty
rogues, Wellbred, Young Knowell, and Brainworm, are suc-
cessful in discomfiting not only the other rogues, but also the
honest men, and Brainworm is at the end pardoned for his
offenses because he has shown such ability in committing
them. Such a play can scarcely be called moral, though no
one would call it immoral either, unless it were some zealot
such as Zeal-of-tbe-land Busy. If it teaches an}'thing, it
teaches that it is convenient to have a quick brain, a ready
tongue, and an elastic conscience.'
5. 3. 117. ingine. SeeGlossary. NotethatQreadsu^bere.
5. 4. 1. I beseeoh roar worsbip to peidon me, etc. This
speech is divided into two in Q by Clement's declaration that
be will pardon bim. It is better in F, because more natural
n,g,i,7cd by Google
Explanatory N<^e$ 399
that Ctement would wait to pardon him until he had learned
the full circumstance.
5.4. IX. Who Iw Uusa. etc. The reception of Bridget, the
bride, is more fully and enthusiastically described jo F than Q.
The Latin quotation is omitted to good purpose (cf. note on
Q 5- !• 396)' The allusion to the earher news of the mairiage
is of course found only in F {cf. note on F 5. 3, 92).
Q 5. 1. 423. QninilpotoBtspraandesperetiilhU. Thipassage
occunin Seneca's Medea (ed. Bradshaw) 1. 162. The utterance is
Medea's, and occurs in the conversation between her and the
nurse after her long soliloquy at the b^inning of the second
act. She has heard of the marriage of Jason and Creusa,
and is in a furious r^e. The nurse seeks to restrain her, but
if obUged to admit that hope reveals no way to one so un-
fortunate (' Spes nulla monstrat rebus afflictis viain *). Medea
replies with the words of the quotation Jonson has borrowed :
'He who can hope for nothing, should despair of nothing.'
This is omitted in F.
Q 5. 1. 426. and will Doe sonshiiie on these lookes appear.
It is difficult to determine whether these quasi-quo tations are
genuine or are simply improvised by Jonson. Cf. Q 5. i. 452,
F5-5-"; Q5- 1-459; Q5- 1-484; Q5-I-533; Q 3- 1. 606.
F 5> 5- 79> I have been unable to locate these cited.
Q5. 1. 427. since there is such a tempest towarde,ilel)ettie
pnpaif, lie datmoe. 'A large school of porpoises in rough
weather charging down upon a sailing-ship is an impressive
sight. Once the sea around was covered for miles with them,
and they gambolled about our ship, swiftly passing and re-
passing her bows, as though encouraging her progress.' —
Beavan, Fishes I have known, p. 57.
Q 5.1.432. Well Sonne Lorenzo, this dajwwoAeolyoiin
hath miudi deoeiiud my hopes, etc. It is to be questioned
whether Jonson did not lose by omitting this speech in F. It
' is in keeping with old Knowell's character, and his son surely
needed this much of a rebuke.
5. 5. 1. We are the mare hoimd to yoor homaoltle. sir.
This and the following speeches, up to line 9, take the place
of a longer passage in Q (424—4^).
by Google
400 Euery Matt in Ats Humour
Q 5. 1.447. Die mihi mtUB TiroBL This is a Latin tram-
literatton of the first Une of the Odyssey. 'AviQa (lot Iv-
vfxi Movea. More immediately, it occurs in Horace's De
Arte Poetica (ed. Wickham, 1. 141). This was doubtless its
source in Jonson.
5. 5. II. Honnt op 0ir Fhlegcm mose. PhkgoD was one
of tile horses of the Sun. See Smith's Diet. Gr. and Rom.
Myth. 3.337. Cf. Ovid, Met. {ed. Merkel) 2.153:
Interea volucres Pyrois et Eous et Aethon,
Solis equi, quartusque Phlc^o hinnitibus auras
Flunmiferis implent pedibusque repagula pulsant.
Cf. note on Q 5. i. 427.
Q 5- 1- 459- I^'iom Oatadopa and Ow banks ot Hile. Cata-
dupa [L. Catadupa= Gr. Kcnadvxoi] was the name for the
celebrated cataract of the Nile, near Syene, on the borders
of Egypt, now Chellal. See Harper's Latin Dictionary. Cf.
Cicero 'sD« ffePi4W.(ed. Mueller) 6. 18.19: ' Hoc sonitu oppletae
aures hominum obsurduerunt ; nee est uUus hebetior sensus in
vobis, sicut, ubiNilus adilla.quaeCatadupanominantw, frae-
cipitat ex altissinusmontibus,ea gens, quae iQum locum ad colit,
propter magnitudinem sonitus sensu audienti caret' ; Macro-
bius, Somn. Sdp. 2. 4. 14 : 'Nam, si Nili Catadupa ab auribus
incolarum amplitudinem fragoris excludunt, quid minim, si
nostrum sonus excedit auditum quern mundanae moUs in-
pulsus emittit ' ; Sidney, Defense of Poesy, p. 58 : ' But if , . .
you be bom so near the dull-making cataract of Nilus, that
you cannot hear the planet-like music of poetry.' Cook notes
that the story is told by Montaigne, Bk. I. ch. 22.
5. 5. 15. Hee is not lor extempore, etc. Clement's second
attempt at extemporaneous versifying in Q is omitted here,
and a comment on young Knowell's method of composition
substituted for it.
5. 5. 17. seaioli him lor a tast at his velne. Q reads 'lets
intreat a sight of his vaine then ' at this point. This idea has
already been given in the last of Wellbred's previous remark.
Clnnent's new remark is appropriate, since young Knowell is
actually searched for the poetry he has upon his person. See
tast in Glossary.
n,g,i,7cd by Google
Explanatory Notes 401
5. 5. 18. Ton nrast not denie the Qneenes lostioe. Ci. In-
troduction, pp. btiv, Ixvi, Ixviii.
5.5.23. TntottulMniiidles8eOoBBn<dthylace,etc. Whal-
ley pointed out that these lines are parodied from the first
stanza of Daniel's Sonnet to Delia. Q, at this point, prints
the first four lines of the original poem, with an alteration in
the last line, and has Matthew say : 'I translated that out of
a booke, called Delia.' The fourth line in Daniel runs:
'Which here my loue, my youth, my plaints reueale.' For a
full discussion of Jonson's relation to Daniel, see Small, Stage
QHorre^.pp.iSifi. Fleay and Pennimanhavedeveloped elabo-
rate theories regarding Daniel's participation in the famous
stage-quarrel and Jonson's animosity toward him, many of
which Small distrusts. It is sufficient, at this point, to sug-
gest but a few illustrations of Jonson's ridicule of Daniel,
about which there is little question. Two allusions in the
Conversations with Drummond show that the two men were not
on the best of terms. See Jonson's Wks. g. 366: 'Samuel
Daniel was a good honest man, had no cbildrm ; but no poet ;
and ibid., p. 378: 'Daniel was at jealousies with him.' In
Every Man Out 3. i, p. 176, Fastidious Brisk, in speaking of
his mistress, says : '. . . You shall see sweet silent rhetorick, and
dumb eloquence speaking in her eye ; but when she speaks
herself, such an anatomy of wit, so sinewized and arterized,
that ' Us the goodliest model of pleasure that ever was to be-
hold.' This parodies lines 128—130 of Daniel's Complaint of
Rosamond:
Sweet silent rhetoric of persuading eyes,
Dumb eloquence, whose power doth move the blood
More than the words or wisdom of the wise.
Fleay and Small agree in thinking that the poetical epistle to
Elizabeth, Countess of Rutland, printed in the Forest, contains
a reference to Daniel, who in 1603 addressed a long poetical
epistle to Lucy, Countess of Bedford, and in the same year
was recommended by her to James as a good writer for the
court:
You, and that oth^ star, that purest light,
Of all Lucina's tram, Lucy the bright ;
by Google
402 Euery Man in Ms Humom
Than which a nobler heaven itseU knows not ;
Who, though she hath a better verser got,
Or poet, in the court account, than I,
And who doth me, thoi^h I not him, envy,
Yet for the timely favours she hath done
To my less sangume muse, wherein she hath wtm
My grateful soul, the subject of her poweis,
I have already used some happy hours.
To her remembrance.
Jonson's "less sanguine muse' is probably an alluskm to
Daniel's Civil Wars, the first five books of which appeared
in 1595-
Q 5. 1. 475. Ho, ail, I tniulatad that out of a booln, ealM
Delia. This definite avowal of indebtedness to Daniel's Ddi4
is omitted in F, as well as the line found in a hallai (L 48Q.
F contents itself with calling it an absurd parody.
Q 5. 1. 491. QUI 70a this PoetarP This passage up to
1. 531 is peculiar to Q. All that Jonson allows to remain of
it in F is Gement's tribute to poetry (5. 5. 37 ff.) and Edward
Knowell's remark : ' Sir, you have sau'd me the labour of a
defence' (5. 5. 47). There is nothing finer in either version
than this. It would be difficult to conceive of a higher OHi-
ception of poetry. It is a 'sacred inuention', belongs to the
eternal order, and is desecrated by empty spirits, and all but
'graue and consecrated eyes.' This, as Sidney suggests {De-
fense, p. 43), is reminiscent of Plato. 'For the poet is a light
and winged and holy thing, and there is no invention in him
until he has been inspired and is out of his senses, and the mind
is no longer in him : when he has not attained to this state,
he is powerless and is unable to utter his oracles .... And
therefore God takes away the minds of poets, and uses them
as his ministers, as he also uses diviners and holy prophets, in
order that we who hear them may know that they speak not ■
of themselves who utter these priceless words in a state of
unconsciousness, but that God is the speaker, and that through
them he is conversing with us.' — Plato, Ion 534 {Jowett
1. 224) . Cook adds the following note from Spenser, Shepherd's
Calendar, October, Argument : ' In Cuddle is set out the pwfect
pattern of a poet, which, finding no maintenance of his state
n,g,i,7c.dbyG00'^lc
Explanatory Notes 403
and studies, complaineth of the contempt of poetry, and the
causes thereof ; specially having been in all ages, and even
among the most barbarous, always of singular account and
hcmor, and being, indeed, so worthy and commendable an art ;
or rather no art, but a Divine gift and heavenly instinct not
to be gotten by labor and learning, but adorned with both,
and poured into the wit by a certain iviovaiaa/iltg and cel-
estial inspiration, as the author hereof elsewh^e at large dis-
courseth in his^book called "The English Poet", which book
being lately come to my bands, I mind also, by God's grace,
upon further advisement, to publish.' Cf. Shelley's Defense
of Poetry (ed. Cook, pp. 10, 38) : 'A poem is the very image
of life expressed in its eternal truth. . . . Poetry is indeed some-
thing divine.'
5. 5. 34. 8ie tnuuit gloria mnndt ' Sequence sung at the
enthronization of a new pope, and accompanied with the
burning of tow to signify the transitoriness of earthly gran-
deur.'— King, Classical and Foreign Quolaiions. Cf. Thomas
k Kempis, De InUtatione ChrtsH i. 3. 6 : '0 quam cito transit
gloria mundi.'
5. S- 35- 11we*s &D embleme lor yoo. Gifibrd remarks
that this application of the justice's emblem to his son is well
timed and judicious, since he had warned him earlier against
the study of "idle poetry.'
Q 5. 1. 532. I Lorenio, bat electitm is now gonemd alto*
geflier Iv ttia inflnence of humor, etc. This long speech ia
divided into two in F, and is materially condensed. The
language and style of the revised passages are much simpler.
Individual differences are mentioned in the following notes.
Q 5- 1- 537- Bbe most haoe store of EUebore, gimn hex to
vata flme grosse obstroctiona. •Hellebore foetidns was in
past times much extolled as an anthelmintic, and is recommend-
ed by Bisset {Med. Ess., pp. 169 and 195, 1766) as the best
vermifuge for children ; J. Cook, however, remarks of it (Ox-
ford Mag., March 1769, p. 99) : "Where it killed not the
patient, it would certainly kill the worms ; but the worst of
it is, it will sometimes kill both." ' — Encyc. Brit. 13. 236. Cf .
Ptautus' Pseudolus 4. 7. 1184 (ed. Leo): 'EUeborum hisce
n,g,i,7cd by Google
404 Euery Man in his Humour
bominibus opus est '. Harpax, who speaks this line, has
declared a little earlier that the men alluded to were out of
their senses.
5. 5. 38. They are not bame enerie yeste, u an AMemwn,
There goes more to the makiiig <A a good Fort, tticn a Sbecilte.
Whalley comments as follows upon this passage: 'Among
plain citizens, this might be thought a reflection upon men
of gravity and worship ; and Mr. Kitely seemed to take it so :
but the merry justice thought no harm, when he thus gave us
the sense of the old Latin verses :
Consules Sunt quotannis, & proconsules :
Solus poeta non quotannis nascitur ;
which Taylor, the water Poet, has paraphrased with much
greater honour to the bard ;
When heav'n intends to do some mighty thing,
He makes a poet, or at least a King.'
Gifford criticizes Whalley sharply for the inaccuracy of his
quotation. ' The water poet seems to have found a more cor-
rect copy of "the old Latin verses" than the commentate',
who has jumbled them out of all order.
Consules fiunt quotamiis, et novi proconsules,
Sohis aut Rex aut Poeta non quotannis nascitur.
They are usually attributed to one Floras.' Tennant (ed.
New Inn, p. 291) locates the verses in Poet. Lot. Min. . ed.
Wemsdorf 3. ^8 {= Anthal. Lai. i. 252, p. 170). These lines
close a poem by Floras called De Qualitate Vitae.
Jonson quotes the second line directly in Discoveries {Wks.
9. 152) : 'And hence it is that the coming up of good poets is
so thin and rare among us. Every beggarly corporation
affords the State a mayor or two bailiffe yearly ; but Solus
rex, aut poeta, non quotannis nascitur.' Tennant points out
(p. 292} that Schelling, missing the notes of Whalley and
Gifiord, says (ed. Discoveries, p. 151): ' P^on[ii] in Fragm
[enta] is the marginal note of the folio. I do not find this
quotation in the Fragments or in the Satyricon. ' Cf. the close
of the Epilogue of New Inn, p. 412 :
n,g,i,7cd by Google
Explanatory Notes 405
But mayors and shrieves may yearly &U the stage :
A kings, or poet's birth doth ask an age.
Cf. also the epigram to Sir Philip Sidney's daughter (Wks. S,
p. I86).
That poets are far rarer births than kings,
Your noblest father proved.
See JV. <& Q. (10. 2. 388 ; 10. 3. 433 ; 10. 4. 35) for notes upon
the proverbial expression 'Poeta nascttur, non fit,'
Q 5- 1- 553- Who list to leade and a souUien life. Cf.
note on Q 5. i. 425. This may have been a popular song
of the day.
5- 5- 51- PictoM 0' Ow Poet Cf. 5. 2. 28, and note.
S. 5 51: I will not ha' yoa hans'd. etc. Cf. Q. Fasting
without in the court is a considerably lighter sentence than
spending the night in the cage and being bound to the market
cross.
Q 5, 1. 570. Wei brother Fm^ero, etc. The texts do not
come together again until Q 1. 606, F 1. 79. Clement's speech
(7ifE,), with its good advice to all the characters, is worth
much more than all the quibbling over horns and the fun
thrust at Biancha in Q.
S- 5- 79- See, lAat a dzone of homes Ilye, in the ayre, etc.
I am miable to find this verse 'out of a iealous mans part
in a play.' Cf. note on Q 5. i. 396.
Q 5, 1. 640, Oandite iam riuos pneri Bat prata bilwnnt
This is the closing line of Virgil's third eclogue. The eclogue
has consisted in a poetic debate to decide superiority in verse-
making. Two interpretations are placed upon the line ; the
first, a Uteral one, makes them refer to the sluices which have
been opened to irrigate the meadows ; the other, an all^oricat
one, has them allude to the rills of song which are to be stop-
ped, Jonson, of course, uses the quotation in the latter
sense here.
5. 5. 93. it shall find both spectators, and applaose. Jon-
son is hare evidently influenced by Roman comedy. Every
play of Plautus and Terence closes with an appeal to the
audience for applause . Cf . close of Eva-y Man Out 5, 7, p. 197 :
n,g,i,7cd by Google
4o6 Euery Man in his Humour
' I win not do as Plautus in his Amphytrio, for all this, summ
Jovis causA, fiaudiU ; be^ a plaudite for God's sake ; bat if
yoa, out of the bounty of your good liking, will bestow it, why,
you may in time make lean Macilente as fat as sa John Fal-
staS'; £^.5. i,p.478: ' Spectators, if you like this comedy,
rise cheerfully, sand now Morose is gone in, clap your hands.
It may be, that noise wiO cure him, at least please him.'
The pfincijtll Cdnusdiiiu.
The names of Shakespeare and Burbage require do comioent.
Augustine Phillips acted again with Shakespeare in Sejauus,
and also appeared in Every Man out 0/ His Humor. He in-
cluded Shakespeare, Henry CondeU, and Christopher Beeston,
in the l^acies left at his death. He died in 1605 (see Collier,
Memoirs of Actors, pp. 798.).
Henry Condell's association with the stage includes the
period between 1598, when he appeared in Every Man in His
Humor, ahd 1627, the year of his death. His name appears
as one of the principal performers of Ben Jonson's Sq'anus,
in 1603 ; of his Volpone, in 1605 ; of his Alchemist, in 1610 ;
and of his Catiline, in 1611 (Collier, pp. 1320. See remarks
on Hemmings}.
WiUiam Sly was an actor under Henslowe in 1594, and c^-
tainly was a member of Shakespeare's company two yean
later at the Globe and Blackfriars. He acted in Every Man
out of His Humor, Sejanus, and Volpone. He died in 1608
(Collier, pp. 151 ff.).
William Kemp was a famous player of low-c6medy parts.
He is said to have been the original actor of Dogberry in Much
Ado about Nothing, and of Peter in Romeo and Juliet. He was
a clever extemporizer, creating what were known as ' Kemp's
applauded Merriments '. These were interpolations in other
plays. He also published several pieces known as 'jigs.'
The date of his death is uncertain, but it probably occurred
before 1609 (CoUier, pp. 88fi.).
John Hemmings (name spelt variously ; Heming, Hemming,
etc.) was a prominent actor of the Chamberlain's company
byGoot^lc
Expianaiory Notes 407
and was one ot the eight actors who presented a petition to
the Privy Council that they might not be prevented from re-
pairing and.enlarging the Blackfriars theatre. He and Con-
dell are best known for their publication of the first folio
edition of Shakespeare's work, in 1623. He died in 1630
(Collier, pp. 57 ff.).
Thomas Pope seems to have acquired eminence in his pro-
fession, although it can not certainly be determined with
what plays be was comiected except Every Man In and Every
Man Ovi. He also was one of tiie eight petitioners to the
Privy Council regarding Blackfriars. He died in 1603 (see
Collier, pp. I20ff.).
Less information is extant regarding Christopher Beeston
and John Duke. Beeston's name appears frequently in early
stage-history. He made [H^tensions to authorship, and ad-
dressed lines to Thomas Heywood. Nothing b known of him
after 1637. Duke was a member of both Chamberlain's com-
pany and that of Henslowe and Alleyn. There is no record
of bis death (Collier, pp. xxx, xxxi).
n,g,i,7cd by Google
GLOSSARY
The chief sources of infoimatiDii in the preparatioii of this glossary
have been the Nem English Dictionary &nd the Century DieHonary.
Other lexicons used are cited in the Bibliography.
A dagger before a word or definition indicates that the word or
definitioa is obsolete ; parallel lines, that a word has never been
na ta rallied : an interrogation mark, that the sense is donbtfal.
A, pro. |[Ehded form of Aa.] See I Alofe, pt»p.
Absolntet adv. See note. 3. 5. I,
AMomodale, v. To furnish a
person with something requi-
site or convenient, i. 5. 137.
Awompt, M. [Form of oecoMntA
Arch. I. I. la.
AdUon, n. A fight, in battle as
In c
93;
139.
into the
Areh. and Hoi.
Q. *. a. 79; 4- 9- 3«- «■ a^v.
In front, in advance. Obsolete
except in nauticalUaguage and
in dialects. 2. 4. 14.
kftXn'yprtp. ' [Shortened form of
against] I. 3. 47; I. 3. 117.
Against, prtp. In anticipatioD
of, and in preparation for 1-
A4ieetkin, K. Addition. 4.8.5.1
Admiration, h. Wonder, astonish- 1
ment. Arch. 4. 7. 39; 4. 8. '
56.
Admire, v. To view with wonder
or surprise. Areh. 2. 3. %.
Adoe, ». Trouble, difficulty. 3.
■ 37; a
. 30.
Ambtueado, M. Ambuscade. Areh.
4- i°
AdniW, V. ^R»fi. (Fr. s'ttiristr.)
Take thought, consider, reflect.
0 4. I "7-
AMe, a. [Form of tury.] Va-
sutwtantial, vimonai?. 1. 1. 90.
Afl«et, V. tHave afiectlon or lik-
ing for. I. I. 9.
AflReted, ppl. a. i. f Favorably
disposed or inclined. 3. 4. 51.
2. Full of afiectation. 3. i.
37: a- I- 33: 2. 5- 128.
AffteUm, n. [Probably misprint
for afftcHon.1 See note. 3. 3.
^A body or 'sub-
ject' for dissection. 4. 6. 38.
Ancient, a. Old fashioned, anti-
que. Rart. 4. 3. 9.
AndfCon;'. If. i. a. 16; 1.3.78.
Angell, n. An old English gold
coin, having as its device the
archangel Michael, and worth
about ten shillings, z. 3. 40 ; 4-
fitted. Artk.
119.
twily
AitUleer, m. ^An artful □
person, a trickster. 3. 3. .j.
Ag, etmj. with finite verb. ■•
fObs. and replaced by that. So
... (M, in such manner, to snch
a degree . . . that. Ded. iB:
n,g,i,7c.dbyG00'^lc
Glossary
ProL 7; 2. I. ig. 1. |With
the result or purpose that.
Obs. and replaced by so that.
I. I. 88.
Anolto, H. An attack made
upaa each other by two fencers,
as an exercise or trial of akill.
4. 9- IJ.
Attend} V. yXa give considera-
tion or pay heed to. i. 3. 29.
AtbvrtliM, «. fAn attraction.
3- 3- 35
Aulter, n. Form of altar. Q 5,
Balke,!
Check, thwart.
Balkt, ppl. Checked, foiled. 3.
3- 27.
BaUamnm, n. (L. balsamum, Gr.
BaMa/ioy.) fAn aromatic re-
sinous vegetable juice. 3. 5. 85.
Buid, n. Id t6Ui and I7tb cen-
tury, a collar or nifi worn round
the neck by man or woman.
,|B.
, B. L„ a. Gr. A
steep ravine on the western
slope of the Hill of the Nyropbs,
at Athens, outside of the an-
cient walls, rendered more pre-
cipitous by ancient use of it as
a quarry. This was the 'pit'
into which the bodies of crimi-
nals were thrown in antiquity
after execution, or insamecases
whilestiUliving.CD. Q5. i. joi.
Bute, v. To beat soundly. 4.
BMUnmdo, 1. «. A blow with a
stick or cudgel; esp. one upon
the soles of the feet. Arch.
I. 3. 103. 2, II. To beat
with a stick. 4. 7. 107.
IBaleh, n. The sort or lot to
which a thing belongs by origin
(as loaves do to their own
batch). I. 3. S5.
Batterle, t>. The apparatus used
in battering or beating. 4. g. 8.
Bawd, n. In general sense, a go-
between, pander. 4. 8. 98.
409
fBel-stsRe, n. A stafi or stick
used in some way about a bed.
Formerly well known as B ready
weapon. 1. 3. 138.
Bdea^'ring, n. The act of be-
si^ing. 3. I, III.
Bdlke, adv. Perhaps, possibly.
fBarKnllUD, tt. A braggadocio,
Bedinw, V. 1. fTo invoke evil
upon. 4. S. 33. 3. Impre-
catory expression {beshrew m».
thee, etc.) : Evil befall, mischief
take. Arch. 3. 5. i.
Betipeakfl, v. To arrange for, en-
gage beforehand. 5: 3. 96.
Bias, n. A term at bowls, ap-
plied alike to: the construction
or form of the bowl imparting
an oblique motion, the obUque
line in which it runs, and the
kind of impetus given to cause
it to run obliquely. Formerly
bias was given by loading the
balls on one side with lead, and
this itself was sometimes called
the bioi. Q 3. 3. 133.
Bill, ». 'An obsolete military we-
apon used chieQy by infantry;
varying in form from a simple
concave blade with a long
wooden handle, to a kind of
concave ax with a spike at the
back and its shaft terminating
in a apear-head.' NED. 4. 8.
Go.
Bob, V. To strike w,th the fist,
to pommel. 3. 7. 44.
Bdiller, adv. ConfidenUy, with
Bottom, n. t^ ^^^'^ ^^ ^^ °'
thread. 4. 6. 41.
Bnee, «. Two things taken to-
gether. I. 3. 75; 4. ft. 41.
n,g,i,7cd by Google
410
Brane, a- GenenU epithet of ad-
miration. 'Capital'.'fine'/fam-
otw.' Areh. Q i. i. 56.
Bnraerle, m. Finery, fine clothes.
1. I. 80. See note.
RTMCh, n. ' A gap in a fottilica-
tiOD made by a battery.'—
John. 3. I. 114.
Brattb,!'. fi. To exercise bi
ly; to Bccnstom to exercise.
5.157. a. Breath. To pause,
to tales teat 5. 3. 14.
Briu, n. [Obs. form brtam]? A
breath of news. Q 5. i. 497.
Bullet, H. fA cannon-ball (of
mebil or stone). Prol. 33.
fBuddlo, n. (a form of Bor-
dtUo). A house of prostitu-
tion, a brothel, i. 2. 94.
But, ciMJ. U not, unless. Areh.
4- 3- 53-
Buntud, M. 'Name (or the genus
Bulto of birds of the falcon fa-
mily, esp. B, vulgaris. Ap-
plied also, with defining words,
to other birds belonging to the
Faleonida.' NUB. Q 1. \. 54.
Ckbbin, «. I. tA sddier's tent
or temporary snelter. 3. 7. 71.
2. Used rhetorically for 'poor
dwelling,' I. 5. 36.
jC«r»ct, M. (Obsolete form of
caral). Fig. Worth, value. 3.
3. as-
Cuiagt, ». [Form of comofa.]
I. Demeanor, deportment (re-
ferring to manners). Arch. 1.2.
34; 2. Manner of acting to or
towards others. Arch. Q t.
4. 28.
Cftr-nun, n. Carter, carrier; also
(in plu.) name of one of the
London City companies. 3. 3.
70.
CanlBge»H. Sc«cariag«. 1.3.110.
Car;, v. fTo bear (affection, re-
spect, eto.) to, towards. Q i.
4. 27.
Cawork, n. fA cloak or long
coat worn by some soldiers in
16th— 17th c. a. 5. 144,
Euery Man in kis Humour
Cu^ V. I. To throw (dice from
the box). J. To vomit. Dial.
exc. for hawks or other birds.
5iee note. i. 4. 52.
fCatBO, int. [It. catn, membnim
virile, also word of exdajoation.
Florio says 'also as CatiiiM,
interjection, 'whati gods me!
[god forbidi tushl"] Frequent
in t7th century in the Italian
senses. NED. Q i. 3. 132.
Cfttter-waliuK, vU. n. Any hide-
ous, discordant, howling noise.
4. 1. 97.
Caneleer, n. [Form of caaaiitr.]
This word, bke galtant, was ap-
plied about 1600 to a roister-
ing, swaggering fellow. Q 3. 4.
143-
Canallero, n. (A form of cava-
lier). A sprightly, military
gentleman. 3. 3. 30.
Cmue, >. A name for White
Lead, a mixture or compound
of carbonate and hydrato of
lead, sometimes used as a paint
or cosmetic for the skin; of-
ten employed vaguely. 4. 8.
117.
Change, «. Ilnconstancy, fickle-
ness. 4. 10. 39.
Character, n. A distinctive mark,
evidence, or token. Arch, la
general use, 4. 7. 80.
Cbaitel, I. «. A writtea chal-
lenge. I. 5. 11a. 3. fr. To
serve with a challenge, i. ).
114.
ClHdler, m. Anger, wrath, i. 3.
39: 2. 3. 39; 3- 4- 7-
ClnllLui, H. A practitioner, doc-
tor, professor, or student ol
Civil Law. Q 3. 3. 53.
dawne, p. ppl. [Variant form p.
ppl, of cb,'W>clawaii.] fHir.
daw off: get rid of. get free
from. Q 5. I. 573.
Cleane, adv. Without anything
omitted or left, 3. 5. 143; ).
3- 45-
Clean«lj> a. See Cltamly. t. y
44-
n,g,i,7c.dbyG00'^lc
Glossary
ClmBij,a. Habitually kept clean.
1- 5- 13-
OOHia- Private, secluded. Areh.
orobs. Qi.3.89; Q3-I-93:
3. 3. 91: 4- 'o- 34-
Goatf fi. I. "[Garb as indicating
profession; hence, profession
((. g. clerical); used chiefly in
such phrases as a man of hit
coat, one of their own coat, etc.
Very common in 17th c. 3. 1.
33-
Coste, 2. A garment worn sus-
pended from the waist by
women or young children.
Obs. in literary lajig., but pre-
valent in dialects. 3. 5. 26.
fThe head of a red herr-
mg.
17;
.. a6.
Cock8-«(Hnbe, n. -fA conceited
lool; a fop. I. I. 55.
CoM'Ung, vbl. n. The act of
boilinggently, parboiling, atew-
ing-
. 81.
Coloitr, n. |Allegeable ground 01
reason. 3. 7. 34.
COBuijf a. "f Appropriate, proper
I. I. 6z.
CMDpuatliH, «. ? The adjective
is ased as a noun here equi-
valent to comparison. Q i. i,
110.
Coiwelpted>^.ii. fWitty amus-
ing.
■ a9-
Oennftf n. i. ^Personal opinion,
judgment. 4. 7. 61. 3. A fan-
ciful, ingenious, or witty notion
>■ 5- 57-
Cmieelto, r. See Conceit (i). Q
5. I. 5tt.
CmctiiM, V. Understand, com-
prehend, I. (a person), t. 5.
38. |j. (absol.). 3. 3. 140.
Conduit, M. fA fountain, obs.
or arch. See note. i. 3. iiz.
Conger, n. A large species of eel.
3. 4- 64.
-tOoonfe-oatKhiiig, ppt. a. GuU-
ing swindling. 3. i, 175.
Cnisort, n. f A partner, com-
panion,- mate. See note. i.
I. 46.
411
Oontarn, v. flo restrict, limit,
con&ne. Q i. i. 108.
Conaelwin, h. ^Escorting or
conducting, j. 3. gi.
fCopes-mate, n. A paramour. 4.
10 16.
Costar'-moi^ei, n. [Obs. form
cosltrmongtr.] An apple-sel-
ler, especially one that sold his
fruit in the open street; used
also as a term of contempt or
abuse, i. 3. 63.
Counter, N. The prison attached
to a city court. Obs. exc. hUt.
3. 1. 77.
Coune, H. Way, custom, i. y
70.
CoiiraM, M. Personal conduct or
behavior; especially of a repre-
hensible kind. Arch. Q 3. 4.
i8t.
Consm, n. An abbreviation of
Cousin, nsed in fond or familiar
address, i. i. 17; i. 3. S3.
Cons, n. [Form of cousin.] i.
3- i=6.
CoygtrUI, n. Obs. or areh. Base
fellow, low varlet. 4. 3. 138.
Credit, n. Reputation; repute.
4- 7- 39-
Octtt, K. Helmet; fig. pride. 3.
3. 82.
Crosae, v. t. Phr. to cross Iht
path of (any one) : To meet on
the way ; here implying ob-
struction or tbwa-tlng. Q i.
I. 3IO. n. 3. |The figure of
a cross stamped upon on; side
of a coin; hence a coin bearing
this representation. 4. g. 43.
CrOiTD, n. A name of various
coins; originally one bearing
the imprint of a crown ; from
the 15th to the i8th century,
the common English name for
the Frepch icu, as well as for
other foreign coins of similar
value. Q i- ■■ 64.
Crudttf, n. Imperfect 'concoc-
tion' of the humors. 3. 5. 89.
Cuokoldly, a. Obs. or atch. Hav-
ing the qualities or character of
n,g,i,7cd by Google
4ia
Euery Man tn his Humow
a cuckold ; often «
reviling or abuse. 4. 10. 91.
CoekoU-OMker, n. One that
makes a practice of coirnptiiig
wivea. 4. 10. 63.
"tCnllloii, n. A despicable or vile
fellow. 3. 5. 117,
Canning, a. Crafty, artful. 2.
5. 19.
t'ntt n. A slashing blow or stroke
given with the edge of the we-
apon (distinguished from a
Ihrusi given with the point.)
2. 3. 30.
-fCfprMse^n. A l^ht transparent
material resembling cobweb
lawn or crape; like the latter It
was, when black, macb used for
habilimants of mourning. See !
note, 1. 3. 133.
DrarilDf, fi. Obs. form of Dar-
ling, i. 5. aa.
DeeMljr, lufv. f Suitably, fittingly.
3- 5- 95-
Deliver, «. i. To give over, sur-
render. 4.11.34. a. fTocom-
municate, report. 3. i. 3.
Demeane, v. To behave, con-
duct or comport oneself (in a
specified way), t. a. 31; 4. 3.
30.
DMni-aalaerliiK, ». A land of
cannon formerly in use. of
about 4I/, inches bore. Obs.
exc. hist. 3. 1. 136.
D«noinlnatloii( n. An appella-
tion, designation, i. j. 13a.
Dqtendance, n, ^A quarrel or af-
fair oC honour 'depending' or
awaiting settlement, i. 5. 113,
Di^rMM, V. fTo overcome, sub-
jugate, vanquish. Q 4, 1. izi.
Uwine, V. To gain, obtain (a
thing from a source). 3. 5. S8.
Dsnloe, n. Stratagem, trick. 3.
a. 58; 4, 5. la; 4. 10. 31; 5. 3,
63.
, see 'Sdeynes.' Q 3. 1.
IHaineter, n, Pbr. t» diameltr:
j-In direct opposition. 4, 7. 30.
DbeUtme, v. |To
disavow all part m. u 3. t.
309.
Dlsoooer, V. To reveal, to make
known. Areh. 4. 6. 15; 4. S.
147; 4, 10. 59-
Dtepatoh, v. ^o get throngfa,
have done with, 3. 3. 9.
'['Dor, V. To make game of, to
make a fool of, 4. 8, 145.
Doublet, n. A dose-fitting body
garment, with or witboat
sleeves. Obs, eicc. Aisf. r. 3.
15-
Donblft-tonng'd, a. Speaking con-
trary or inconsistent thmgs; de-
ceitful- or insincere in speech.
Q 1. 1. .3.
Dreirer, n. One who draws li-
quor for customers, 3. 4. 9.
Urie loot, adv. Phr. fo follom drit
toot. |To track game by the
mere scent of the foot ; used
fig. here, a, 4, 9.
Itavwde^ a. Slu^fish, inactive.
3. I. 27.
Dnmp8, n. A fit of melancholy or
depression. 3. 7. 84.
Dnrlndana, n. The name of Or-
lando's aword. See note. 3. i.
150,
EleeHon, n. \1~ Judicious se-
lection, the faculty of choostog
with taste or discrimination,
Q I. 4- a".
Elegie, tt. Vaguely used in wide
sense, app. originally including
all the species of poetry for
which Gr. and Lat. poets adopt-
ed tbe elegiac meter. 4. a. 10.
EmMeme, n. Symbol, typical re-
presentation. 5. 5. 33.
Empwio, n, [Form of tmpir».\
Q a, a. 16,
Enow, a. Now only orcA, and
ditU. Enough, i. i. 38.
Eman, v. fTo guarantee, as-
sure. 1. 3. 134.
Elltalllde, n. [Obs. form of inttr-
lude.) A dramatic or mimic re-
presentation, usually of a light
n,g,i,7cd by Google
Glossary
413
or fatimoroas character, such as
was commonly introdaced be-
tween tbe acts of the long
mysteiy-pUys or moralities, or
exhibited as pait of an elabo-
rate enteTtaioment. NED. i.
4.78.
EDtwtabie, V. fTo maintain
(something) in existence. Q
I. I. 78-
EneUoa, n. f^xaltation, excite-
ment. 2. 3. 73.
EHtinution, n. |The condition of
being esteemed; repute, i. 3.
I. 150.
Exeending, adv. (Prefixed to
adjs. or advB.) Now somewhat
arch. Extremely great, exces-
sive. I. 5. 30.
fExttrnpoie, n. Extempore com-
positiOQ; improvisation. 5. 5.
10; 5. 5. 15.
FaiekllU, «. Phr. by my fac/tins:
Perverted form oi by vty faith
■« faith 1. 3. 104.
make factions, seditious. 1. 3,
'5-
Faliw, a.~ fJecessitated. obliged.
3. 5- 90.
ftmt, n Reputation. 3. 3. 63.
n. An intimate friend
r associate. 2. i. 103.
fTo bewitch, en-
chant. 4. 9. 18.
FsBt, a. Not easily turned aside,
constant, firm, steadfast. Arch.
except in phrase fast friend. Q
I- I. 16.
I^nodt, n. Phr. under his fau-
aur: Aid; support. Obs. exc,
in phrases. 3. 2. 19.
^Fajlte, H. An obsolete form of
backgammon, 3. 3. 96.
Fean, v. To frighten. Obs. exc.
arch, or vulgar. 3- 6- 33'
llPtoO, [It. fieo.-l.. ficui.] n. -fA
poisonous fig uaed secretly to
destroy an obnoxious person.
Flltehtr, n. A petty thief. 4.
II. 34.
PUthie, a fDisgraceful. disgust-
ing.
, 59;, 5. .
Filthy, a. See Fillkie. 4. 4. 35.
Flap, 11. f To strike with a suddoi
blow. Q. I, I. 159-
Flat, a. Phr. thafi flat: a de-
fiant expression of one's final
resolve tit determination. 2.
fSmiUng .
4. 79-
Fl«erlng, ppl.
sequiously. _ _
nemlng, quasi — a. passing into
a. From Flanders, 3. i. 159.
PlMht, ppl. a. Hardened, eager
for i>attle. 2. 3, 68.
Flinrher, «. One who hangs back
or gives way, esp. at a crisis or
time of danger, etc. Q 5. 1.
To mock, jeer, insult.
»33.
Floul, V.
tFoW,n
4. 17
tNwlado
Fopperle, ». A foolish action, an
absurdity. 4. 1. 17.
Forme, «. f Representation, or
likeness, 5. 3, 8S,
Frlppwle, n.. Finery in dress,
esp. tawdry finery, i, 2. 74.
Gads IM, int. Oath, oftener in the
form 'slid; protably equal to
God's (eye) lid. 1. i. 46,
Garogantra, a. See note. 2. 2.
26,
Geere, t. Form of jttr. i , 4, 80,
Gelding; H, A gelded or castrated
animal, esp. a horse, i. 3. 39,
Gell,^. Gelded, castrated, i.
» 65.
I Pertaining in com-
things. 3, I, 76,
t, a. fOf animals : apirit-
.n,g,i,7c.dbyG00'^lc
414
Euery Man in his Humom
SCIlllU,H. A pCTSOnwho pOWM'
fully Influence fpr good ar evil
the ch&racter, conduct, or for-
toues of another. 3. i. 33,
ICteomj, ". A native of Genoa.
117.
flwtalPin
n. ' GentUity gcntU-
cnrtesie. aflability.'
Florio.
4. 9- 13-
(Mrie,.
The quality or rank
oi gentle
man. Arch. i.t.Si.
tetof,-.
A company, a gang.
Q^tl«,«, f A conning rogne.
7. 134.
float, n. A licentions man.
Fonn of CotTf
pttcious. ka imprecation,
7. 60.
CtonlaUamn, n. The title of the
chief magutrate (or other of-
ficial) in several Italian repnb-
Uce. Q 3. 2. 51-
Chnget, N. A piece of armour for
the throat. Obt. exc. hist. 3.
I. 49.
GraM, I. n. SeemlJT"- -s. l>ecom-
ingneas, lave." ■■ rredit-
able -. ,•" N. .■ ^- 'dcwhat
urandftw. f* AvilUge. Q5.
I. 34S-
Qriitfit. Malt, crashed or gnrand
for brewing. Used here for
liquor itself. 4. 6. 81; 4. 8. 54.
drofnui, *. A coarse fabric of
■Uk, of mohair and wool, or of
these mixed with silk. 2. i. 9.
CWMmt, n. A gold coin foimerly
current in the Hetherl&nds and
parta of Germany. 3. i. 160.
GuH, a. Obs. form of gUI. Q 3.
3- >33-
Oall, n. A dupe, a limpletan, a
foot See note on Tk4 Ptrtons
ofthtPtay. Qi.\.iiT,i.a.%9.
HalbccMr, n. A member ol cer-
tain civic gnards cairying a
halbeid as a badge of office.
3- 5- 14-
Hud, w. fPhr. at any Mand: Oe
any account, in any case. i.
S- 130; 4- 5- 4-
jflangbjt n. A contemptuous
tenn for a dependant or hanger-
on. 3. 1. S5
Hu^W, n. TA loop or strap on
a Bwofd-belt from which the
sword was bung ; often lichly or-
namented. I. 5. 81.
HaoBiM, ti. See note. 3. 4. 34.
Baf^ij,adv. Snccessfnlly. 4.3. r.
fHarnit, n. An obs. variant of
herald, i. 4. 17.
Haulngg, «. Property, wealth,
t. 4. 63.
-fHay, int. [It. Aot. thou hast it.
Cf. Lat. habet, exclaimed when
a gladiator was wonnded.] An
exclamation on hitting an op-
ponent. 4. 7. 14.
tHMit,tn<. [< God's heart.] An
imprecation, a". 2. 15.
Hdte Outter, a^loq. mda. Con-
fusedly, pell-mell. i. 4. 9].
HUt^ H. ^Foimerly often in
plural, with same sense as hilt,
the handle of a sword or daggei.
a. 5- «: 4- *• '=7-
Hoddle-doddie, >t. Obs. exc. dial.
|A cuckold: a henpecked maa.
4. 10. 6*.
HoMen, p. ppl. Areh. past par-
ticiple of hold. I. 3. 93.
Hood, K. A covering of leather
put over the head of a hawk to
blind her when not pursuing
game. i. i. 38.
Hot, a LustfnL 4. 10. 53.
Hougli, int. See AowgA. I. 4. t.
HoundB-dlteh, M. See note. 3-
3- 3>-
Hoi^k, iMi. iObs. form hOMfh.]
Hough is an obs. form of ko.
Q I. 3- 1.
n,g,i,7c.dbyG00'^lc
Glossary
\B.VI-4bj, int. Obs. foim of hey-
day. An exdamatioi) denotiiig
fiaHcaomeiieaB, gaiety, surprise,
wonder, etc. 4. 3. 5.
Hnne, V. fP'i'- *"?« •'■" To sweU
with anger or ircitstion. t. a.
lamw, n. See humour. 3. i,
Samonr, i n. i. 'la ancient and
mediaeval physiology, one of
the fonr chief Snids {cardinal
hvmtntri) of the body (blood,
phlegm, chcder, and melancholy
or bUck cboler), by the relative
proportioiis of which a person's
^ysical and mental qualities
- and disposition were held to be
determined.' NED. Obs. exc.
kitt. 3. 1. loi. a. fMood na-
tural to one's temperament;
habitual frame of mind. 3. i.
63 ; 3- 3. 149 : 3- 5- *a ; 3- 5- >»4 :
4.3.9; 4. 8.39; 5. a. 10. 3. A
particalar disposition, inclina-
tion, or liking, tip. one having
no apparent gronnd or rea
a whim, a caprice. (In
sense frequent in i6th and early
I7tb. c, and ridiculed by Shake-
speare and Jooson). NED. i
I. 17- See note. 4. 3. ai.
To gratify, to indulge.
J or entertaining performance.
_ I. I, 176.
|Iiiihro«eaU, n. [It. imbroccala.
' paae or thrust in fendog.} 4.
>47-
flnjury, damage,
n. I A command.
. 1. 73.
Form of konsewi/i
V, P**p. Shortened form of in.
I- 3 «; >- 3- III: 3-5- 38-
I, adv. [Obs. form ol ay.] i. i.
38; 1. 5. 31; 3. 5- 37; 3. 5.
162.
Uw, n. f A fignre, representa-
tion, likeness, image, symbol,
'picture' (of something). Cf.
Gr. Uia. t. 3. 117.
ImI, II. I. ? A sportive action,
pnnk, frolic. Rart. Q i. I.
136; I. 3. 123. a. ? Anamus-
Imp<MltIoD>
charge. 3 _ ,
Improne, v. ^Disprove, refute.
0 3. » 74
Impodenele, n. Shamelessnesa,
immodesty. Rart. 4. a. 8.
lB«(nittn«nt» n. An nDcbaate
person. 4. lo. 30.
Ilnlortanat^ a. Vnlncky, Inck-
iess, anfortaoBte. Q i. i. 184.
iDffag'd, ppl. a. tOhliged, at-
tached by gratitude, t. 5. 41.
^lagbt, n. [Ingenium} Genius,
intellect, y 3- "7-
Ingle, ti. |A boy-favorit« (in bad
sense); a catamite. Q 1. i.
M5-
Iihabttp, V. intr. To have one's
abode, to dwell. Areh. Q i.
3. 3-
Inow, adv. Form of enough. 3.
II. tTo work or
wheedle oaeself into, to in-
gratiate oneself with. a. 4. 11.
iBtendnHat, ••■ Will, purpose,
intent. 3. t. 140.
Intoat, n. 'fHeaning, significance.
I. a. 18.
KMfS, t>. To continue to make,
cause, or do (an action, war,
disturbance, or the like). 4.
a- 97-
Kej, n. A whari, a quay. 3. 3.
69.
Kind, n. Manner, way, fashion.
Areh. Q i. a. 113: 3. 1. 3.
Kinde, ti. Phr. hindt a/: A per-
son or thing of a kind. 4.
Kil^ n. Term properly applied
to bird of prey of the family
n,g,i,7cd by Google
416
Euery Man in his Humour
h'ateomiim and subfamily Mil-
vinm locally appL«d (or miaap-
pb«d) to birds beloa^ng to
other divisions of FaUtmida, as
the Buizaid. t. i. 60,
KnaM, n. A male servant, one
of low condition. Q 3. 3. 63.
KnoW) V. To nndsratand the
way. or be able. 3. 3. 58.
LftHO^knt^tf n. A mercenary
foot-sold I er, esp. one armed
with a lance or pike. 2. 4. ai,
iMmt, n. A kind of fine linen,
reaemUing cambric, i. 3. iz3.
Lnj, V. -fPhr. lay along; To lay
low, to prostrate. 5. 2. 13.
Lattftm, N. A miLtary invest-
ment, siege. 3. I. 115.
IiMnW, V. To teach (a thing) to
a person. Rart. 1. 5. 139.
Leut, a. Phr. ^wilh the Uatt:
With least or most: at all, in
any way. Sec note. 1 . 5.
Lmim,v. 1. |To neglect or omit
to perform. Ded. 14. a. To
cease, desist from. Arch. 2.
5. J.
Legible, a. See note. I. 4. 84.
Letcher, ». A lewd or grossly
unchaste man. 4. lo. 47.
Lenln» n. A form of leaven.
Phr, of yottr own ttuin: Of the
same sort or character, i. a.
85-
Leystall, n. [Obs. form of lay-
slall.J A place where refuse
and dung is laid. 3. 5. 64.
Lleatenant-Corouell, n. [In ^-
teeoth century corontl, a. F.
coTonml (also corontl, covronntt.
and later colonncl ad. It. colon-
ntllo, eolontllo chief commander
of aregiment, I. co/oHnu Column:
cf. eolonntUo, colon(n)§lla 'a
little columne or piUer' in
Florio ; also la eompagnia eollon-
ntlla, Fr. la eompagnit colon»Ue,
or simply la colonelU, the first
company of a regiment of in-
fantry.—WfD.] An army of-
ficer of rank next below that
of a colonel, having the actual
command of a regiment. 3. j.
23.
like, a. Probable, Ukely. Dial.
2. I. 24; 2. 5. 37.
Uaato^ n. Obs. exc. kUt. A
staff abont three feet long.
having a pmnted foot to sti<^
in the deck or gronnd. and a
forked h«ad to hold a Lghtsd
match. 3. I. 139.
Lilt, V. Choose, desire. Arch,
4. 4. 9.
Llnlof, ft. t^ holding {of land),
a tenement, i. 3. S.
L00M,f. Pormof/M«. 1.3.QI.
Lot, n. Phr. Scot and lot: A tax.
due, or custom. 3. 7. 11.
fLjen, p. ppl. Past participle of
tie. 3- 6- 50
HmIc, quasi-int. Obs. exc. dial.
An exclamatory form of as-
severation. 3. 4. 18.
Iftad, V. |To infuriate, to en-
rage. 4. I. 23.
Bladge-howlet, n. The barn-owl.
3. 2. 33,
Hake, u. ^To prepare (a person]
for a business. 4. 11. 46.
fHalt-hone, n. A heavy kind of
horse used by maltsters; used
here as a term of abuse, i. j.
90.
Bbo, M. fHanliness. courage, z.
I. 47-
BiaiMgs, n. |The action or
manner of managing; direction,
control. Q 2. 2. 3.
Harle,t>>f. Obs. ok. arch, or dial.
An exclamation of aaseventtion,
surprise, indigimtion, etc. i.
3. 39.
HaA«, fi. Phr. of mark: MoU-
worthy, conspicuons. 3. i. 13B.
Hule, V. Obs. exc. dial. Con-
traction of marveL i. To ask
oneself wondenngly. 3. i.
153; (marro) 3. $. 30. a. |To
wonder or be astomshed. at.
(marte) 3. i. 35; 3. 5. 104.
n,g,i,7c.dby-G00'^lc
Gtesstwy
417
To conduct cere-
moQiouBly. 4. 8. 35.
Iluy, int. See marit, Q i. i.
61; a. I. iia; 3. 3. a6.
Hub, II. A conioKd mixture;
a mnddle. 4, 11. 76.
Mum, ». as int. Used in oatbs
and asBeverations; equivalent
toby th« mass. i. 4, 46; 2. i.
Hcuie, I. M. 'An instnimeat.
agency, motfaod, or course of
action, by the employment of
which some object is or may be
attained, or which is concerned
in bringing about some result.
Areh. in singular form.' !^SD,
Q I.I. to; 1. a. 125. 3.V. fTo
intend or destine [a. person 01
thing) to a fate or use. 3. 3,
140.
HM&Mil«ftU, a. TEngaged in
manual labour; nence, mean,
vulgar. See note. i. a. 27.
Mduekalj, «. In the Eliza-
bethan period and subsequent-
ly, the afiectation of ' mel'
ancholy* was a favourite pose
.among those who made claim
to superior refinement, i. 3.
self.
^refi. To reform 0
'Originally, each of the
small groups, normally of fonr
persons (sitting together and
helped from the same d-shes),
into which the company at a
banquet was commonly divid-
ed. Now only in the Inns of
Court, a party of four benchers
ixt our students di ni ng together. '
y£I}. I. 3, 74.
H%ht[^ (. 0. Very great in ex-
tent. CoUnq. 1.4.30. %,ada.
In a great degree, Colloq. t.
|A vendor of 'fancy'
wares and articles of apparel.
esp. of such as were originally
of Hilaneae mannfactnre.
HIbIm, ». A lover. Rare or
Obi. 4. 3. 38.
BltflirMato, «. A composition ol
many ingredients in the form ol
an electuary, regarded as a
universal antidote or preserva-
tive agai nst poison and i n-
fecbous disease. 4. 8. aj.
Ho, a. Shortened form of more.
I. 4. 64.
fHontanto, r. [Form of moh-
la»t.] A ' downright' blow or
thrust. 4. 7. 83.
Hon, d. jGreater in number,
quantity, or amount. 1.5.106;
' 4- 7- 45-
lUoT^ay, H. The name of the
sword belon^ng to Sir Bevis.
3-
. 150.
Hothm, », ^An instigation or
excitement from within; a
stirring of the sonl. 4. 5, 8.
tn«tl*,M, [Form of mol.] Motto.
4. a. 40.
MuD> V. An auxiliary verb, fol-
lowed by in&nitive without to.
In mod. dialects equivalent to
'must'; in early use sometimes
with the sense shalL' I. i. $t.
Unse, V. -fTo marvel at. Q i.
r- «44; 3- 7- 95.
Umket-rest, n. A forked stafi to
support the heavy musket in
use before the m.ddle of the
17th century, a. 5. 144.
f Ht8B«, m. a term of endearment,
a. 3- 39.
Hjiterle, n. Art, profession.
Arch. 1. 5. iiB; 4. 7. 23.
SKbUt, H. fCbaracter, capacity,
function. Q 5. t. 331.
Nwkenhw, m. [Form of necksr-
ehief.'] A keKhief worn about
the neck. Dial. 3. 6. 54.
Need, v. t. tPhr. what nttd:
What need is there for some-
thing ? See note on this word,
a. I. 31; 2. Be needful or
necessary. 3. 3. 107. .
New, adv. f Lately, recently.
I. 3. 27-
n,g,i,7cd by Google
418
Euery Man in his Humour
-ffftootUn, n. The tobacco-jiUuit.
3. S- 87.
mnUcta. Acute, ftlert. 4.5-7'
NoUU^n. [ILMMfa.] 'Agent-
lemanbybirthortitle.' Florio.
4. 9- «3-
Ilotin, n. InbinatioD, inionna-
tioa. I. 3. 133.
HapHB, n. fA simpIefaMi, a foot
4. 6. fit.
0', pr*p. Shortened form of mt.
I. 4. 31; I. 4. 48,
OUert, V. fTo place (something)
before the eyes or other organa
of sense, or the mind. Q i. 4,
i»3.
DM,*, fObwrvftnt cue,
Q 1. 4- 38.
I, n. fThe actiOD of
causing or occasjoning. 4. 8. 6.
OenuTUit, n. [Form of occur-
fMl.] Something that occurs.
an event. Obs. or rara arch.
Q 5. I. 617.
'OOI M, int. God's so. An im-
precati<m. i. 5. 6.
M, prtp. 1. Concerning. 1. 4.
34; 3- 3- 61; 3. 5. i6i. I.
From 2. 1, ij. 3. On 4. fl. 116;
Q a. 3. 210.
One, a. The same, the same
thing. 1. 3. 99-
(Mlnuwi^ n. fMilitary mate-
rials, stores or supplies. 3. i.
OmurhtW- An eating-house 01
tavem. In the 17th century
the more expensive ordinari4S
were frequented by men of
fashion, and the dinner was
usually followed by gambling;
hence the term was often used
as Bjrnonymous with ' gambUng
house.* 2. 5. 35: 4. 7. 50.
Oftoot,**. RaT4. Vainglorious dis-
play, osteoUtion. Q 3. 3. 133.
OoMflow, V. fTo overflow with,
pour out. 3. I. 88.
PtBOiflr, n. A basket, carried by
a beast of burden (usually in
puts, one on each side, slung
across the back), i. j. 96.
Pette^ p. fTo boil thoroQ^y
4. I. 16.
Pumll, M. [a. F. parcMt= Fr.
parcila, Fg. parcella. It. pmtH-
ctUa:—'L. type* parUetila.dim.
of parUcuIa, dim. of^ars, paH-
em Part.] f A fragment, piece.
Used figuratively and contemp-
tuously tere. 3. 7. 95.
Parts, H. AbilitiBi, capacitiBi,
talents. Arch. 1. 3. no; 4. 3.
37: 4- 3- 4a-
{|PaMa4«, n. S*e passado. 1. j.
'4S; 4. 7- 83-
IIPMSado, n. [Altered from F-
pastadt, or 5p. pasada. It. ^-
jola (both of theee also in eariy
use).] A forward thrust witli
the sword, one foot being ad-
vanced at the same time. Q
I. 3- ai8.
PSMS, If. To make a pass; to
thmst, Innge. i. 5. 140.
PUBbig, ppt. a. Snrpaaaing. pre-
eminent. Obs. or arch. i. j.
76.
Put, prep. fHore than, above
(in number or quantity), i.
5. 166.
Pntt«n, n. Fhr. ioyn'd pattm
?A kind of overshoe with a
wooden sole; hence /o fMii
pattin with is to keep step toUli.
3- 5- 9-
PceolUr, a. Particular, special.
I. 5- 40
Peeoidi, a. |An epithet of dis-
like, hostility, disparagemeot,
contempt, execration, etc., as-
pressing the speaker's feeling
rather than any qaality of Ote
object referred to. 4. 7. III.
FMemptorta, a. lade.] f Abso-
lute*. utter, thotongb. i. 3. 39.
Feremftorr, a. (adv.) See Per-
tmptorii. I. y 83; i. 5. 91.
PMrtonrf, n. A kind of large
pistol or carbine, used in the
n,g,i,7cd by Google
Glossary
. , [Fonn of fantasy.^
f Delusive imaginatioii, halluci-
natioii. Q 1. 4. 91 ; cf. P 3. i.
[Obs. form phy-
riognomy,] The fjice or conn-
tenuice, especially viewed as
an index to the mind and char-
acter. I. 3. 128.
-fPlMM Ol elf^ n. The Spanish
peso dvro (Itard dollar), bearing
the nnmeral 8 and worth 8
reals (aieal is 12— ■/■cents), a.
). 6.
FtoA, V. To pierce, prich, or
stab with any pointed weapon
or instrument. 4. 2. 133.
PIdi, I. int. An exclamation
pressing contempt, impatiei
ordisgust. 3. I. 157. 2. V.
say 'pish I' 3. 1. r58.
Plimtar, ta. Obs. exc. dial. An
"at- 4- 7- 54-
PlHUUt, A. fHumorous, jocular,
facetious. Q 3. 3. 193-
PoekfltfN. passing into n. (pocket-
mnse). Private, secret. 5. %. 16.
\'V9AbT,[l..pmicx.podicem.'\ The
fnndament, the rump. 5. 3.
13-
tPojpt, v. [Aphetic form of ap-
point.'\ To agree, settle apon,
Q 4. >. 4".
PoUtle, It. fHode of administer-
ing cr managing public or pri-
vate affairs; esp. skillful, pru-
dent, or crafty management.
3. 4. 6-
pTtinmn; [ To put in possession
of, to inform, acquaint. Obs.
or »ch. 1. 5. 33.
PoMMt, ppl. a. Kept under con-
trol, iuipt calm or steady, com-
posed. Rare. 2. i. 30.
FottMCUf, n. Aph»He form of
apotiucary, formerly in common
ose. Apothecary itself, in the
sense of druggist, is now arch.
Q 3- »■ 94.
IPotUng, H. A votary of th« pot,
a tippler. 4. 3. iiS.
Poxe,M. Ilnimprecations. or ex-
citations of irritation or im-
patience. 4. 3. 70.
PimIbIui, n. One who is precise
in religious observance; in the
16th and 1 7th century synonym-
ous with pMfitan. 3. 3. 94.
Fneent, a. ttemediate, instant.
.4- 8- 7^-
Pnaentlj, adv. f Immediately,
instantly, directly, i. i. 3; i.
3. 20; 4. a. 133; 4. 5. 29.
Prwt, />. ^^. Seized and forced
into service. 3. a. 68,
Pnttom, 4. Egregious, out-and-
out, arrant. CoUoq. 3. 3. 33.
Pntie, a. Phr. f>r«»y whih: Con-
siderable in quantity or extent.
Arch, or rfio/. i. 3. 116.
Prhut^ n. f Retirement, pri-
vacy. 3. 3. 81.
Proceed^ v. [Fig. use of more
literal sense.) To grow or devel-
op into, to become. Pro. ti.
fProoltne, a. Inclined, prone,
disposed. Q a. a. 38.
ProfMt, v. To make profession
of, or claim to have knowledge
of or skill in (some ait or
science) ; to make (a thing) one's
profession or bnsiness, t. 5.
135.
>lol«ot, n. A projection, an
emanation (of some being).
Rart. Q 3. i. 33.
■fopmtlci, H. f The characteristic
quality of a person or thing;
hence, cbaiacter, nature. Q i.
as o. 01 or belong-
ing to the provant or soldier's
allowance; hence, of common
or inferior quality. Atch. 3.
I. 165.
froooUng, a. That incites or
instigates, a. 3. 36.
^rowMt, M. |An officer charged
with the apprehension, custody
and punishment of ofienders.
3. 3. r4.
n,g,i,7cd by Google
Euery Man in his Humour
Pmto, n. fi. 4. J. 16. A mo- 1
ment, iiutant. 72. A stroke
or thrust with the point of the
sword or foil. See note. 1- 7-
1)aMk-nlT«r, n. An ignorant
person who prcsmds to» knowl-
edge of medicine or of wonder-
ful remediea, 3. i. 133.
Qneane, n. A jade, a. husay. 4.
10. 93-
3. 14-
Rus'd, p. ppl. Placed in a
specified position, situation, or
company, 3. i. 118.
lUrelj, adv. Uouanally, re-
markably. (Freq. in 17th cen-
tury.) I. 3. 49.
n. Used without se-
mplicatiou at bad quali-
ties, as a mild term of reproof.
Q a. 3- JO.
IUmwIIj, 4. fPoor, worthless.
3- 4- 3'
BatobuMfH. Rat-poison. 3. ;
■v. Reasonably. '
sufficiently, fairly, i. 3. 50
jRelell, V. Refute, disprove. Q
5- I. 503-
R«l<Hinado, h. [Sp. retormado.')
'An officer left without a com-
mand (owing to the "reforming"
or disbanding of his company)
bat retaining hia rank and se-
niority, and receiving full or
half-pay; a "reformed" officer.'
/fEU. 3. 5. 18.
IMI«ae, V. To rescue, succour,
aid or assist in straits. Some-
what nw*. 3, I. 106: 3. 5. III.
Btytwrn, V. |To disprove. 3. 5.
Mpilr'd, p. ppl. fAsked. le-
qneated, or desired to do some-
thing. I. a. 43.
BSOllrtloB, n. Deteimination:
firmness or steadinesa of pur-
pose, z. 4. 68.
B«eoliie,v. ti. To conclude, to
settle (a thing) in one's own
mind. 3. 3. 40. fa. To de-
cide on setting out for a plac«.
3. 3. SI. t3- To be
vinced or satisfied, i. ;
Bc^Mtlesse, a. f Unheeding, reck-
less.
■ 77-
B«t9perthi«, a. Careful or regard-
ful of something. Rare. Q
5- 1. 624-
BMt, V. Dial. To arrest or ap-
prehend a person. 4. ir. 4.
IMricato^K- See note. 4. 9 IJ'
RMjre, v. fTo withdraw the
mind .thoughts, etc., from some
otiject or sphere. Q i. i. 10.
Beaenloa, n. Phr. in rev*riio*:
An estate granted to another
party, conditional upon the
expiry of a grant or the death
of a person. 3. 2. 38.
BcncTM, n. fA back-handed
stroke or cut. 4. 9. 14.
IBaoereo, ». [Obi. variant of ri-
vtrso.\ A back blow. 4. 7. Si.
fBmired, ppl. a. In card-play-
ing: to meet by venturing a
larger stake than that proposed
by an opponent. 4. a. 96.
Bvwme, n. Sec rhewm. 3. 4,
14. Q 3 i- 87-
Hkefnn, t>. Arch. Watery mat-
ter secreted by the mncous
glands or membranes, such as
collects in or drops from the
nose, eyes, and month, etc.,
and which, when abnormal,
was supposed to cause disease;
hence an excessive or mottad
"defluxion" olany kind.' A^ED.
3. 5. 89-
Kognbb, <t. |VU«. wretched, i.
4. 88.
Rooke, M. fA gull, a simpleton.
I. 5. 89.
by Google
Glossary
BmAL pt>. Cheated, defTandedl
by cheating. Q 3. 1. 56. I
tSoBsker, n. [Alteratioa of ro-
saigar.} Realgar, disulpMde of
arBenic. 3. 5. 115.
Blitk,M- Used as a type of some-
thing of no valne. i. i. 43.
ltDBBet,«. I. Coar»e cloth, coun-
try-made and often homespnn,
used for the garments of pe-
asantry and even for country
people of some means. 4. 9.
63. 2. a. Of a reddish brown
color. 4. 9. 63.
Rmtlcal], a. Rustic, unmanner-
ly, unrefined. Arch. 3, i, 16.
Sack, i«. Obs. exc. Ilist. A ge.
neral name for a class of white
wines formerly imported from
Spain and the Canaries, 5. 3.
70.
Sadnesse, n . Phr. in sadness: fin
earnest, not joking. 1. 3. 50.
Sum, f . [Form of sauce.} fXo
belabor. fl(^. Used figura-
tively here in sense of revenge.
Q 3- 3. ao.
fSane, i«(. [<God save.] An
imprecation, i. 3. i; i. 5. 14.
SsnOj V. Phr. to savt your long-
ing: To anticipate and so pre-
vent it. I, 3. ag.
fS'Uood, int. [< God's blood.]
An imprecation. Q i. r. i;
Q 3. a. 98.
fSoandgr-bag, a. RascaUy
3- a6-
Sear^be, ». 'In early use, a
beetle of any kind (chiefly re-
ferred to as supposed to be bred
in and to fe«i npon dung).
Now rare exc. as applied to the
■carabsid beetle, Ateuchus
lacer, reverenced by the ancient
Egyptians.' NED. Q a. a. 76.
SMMRRir, M. One who does
'd.rty work"; a dishonorable
Soot, «. Phr. U> pay scot and lot.-
To pay a tax levied by a muni-
cipal corporation in proportio-
nate shares upon its members
for the defraying of municipal
expenses. Also fig., to pay
thoroughly, Jo settle with. 3.
7. II.
Sco^trM), a. Free from payment
of 'scot', tavern score, fine, etc.
3. 7- >S-
f8efO;l«, M. A scoundrel, wretch
I. I. 47. See note.
Sennij, a. Worthless, contempt-
ible. Somewhat arch. Q z.
3' 153-
fSdealb, in*. [(God's death.]
A euphemistic oath. a. i, S2.
f'Sdefnes, int. [Shortened form
of God's deyn*s, God's dines.
tDines (dignesse)."] In phr. by
God's dines.- By God's dignity
or honour, a. i. 68; a. a. ai.
Sm, t>. To ensure by supervision
or vigilance that something
shall be done or not done. a.
r. 7.
Selected, f>pl. a. Choice, -select.'
I. a. 48.
Sensloe, a. ^Capable of sensa-
tion. 2. 3. 69.
Scniaot, R. 'I'A professed lover.
SeniltOT. n. One who serves in
war, a soldier. 06s. exc. hist.
a, 4- 59.
Seaen-nlght, v. [Obs. form of
sennight.] Arch. A period of
seven (days and) nights, a week
3- 3- 70-
f SfOOt, int. Shortened form of
God's fool. In some jocular
oaths the substantive has no
meaning in its connection, being
substituted for some word of
solemn import, a. 4. aj.
aisdow, V. To intercept or dim
the light of. I. 3. iJt.
Shame, v. To become or be ash-
amed. Obs. exc. dial. a. 5. 97-
fS'hart, inf. [(God's heart.] An
imprecation. Q 3. 4. 06: Q
3. 5. II.
Shew, V. {Arch, form of slum.']
Appear. I, 3. 48; I. 4. 34.
n,g,i,7c.dbyG00'^lc
Euay Man in Mis Hnmom
1 it
- 4- 90-
Sune as ibovd-
board. 'A game In wtatcb the
player* (hove or drive by blows
of the hand [dec«s of monej or
conntcn toward certain marka,
compartmentl, or lines marked
on a taUe.' CD. 3. 3. 17.
BlgH^ n. ■\A mm semblance of
■ '— - I. 38,
dicament composed or concoct-
ed of only one constitnent;
hence a |riant or herb employed
for medical porpoees. Arck.
3. 3. So. a. a. Phr. oi timpU
a$ I sUtnd htn: Of low rank or
poaition. i. 2. 6.
SlrrlUi, M. Arch. A term of ad-
dress used to mem or boys, ex-
pressing contempt, reprimand,
or assumption of autlwrity, on
thepartofthespeaker. 3. t.t.
tSIM, int. [(God's lid (eye).]
An imprecation, a. 4. i ; a. 4.
38.
tSll^rt, inl. [<God's tight.;
Used as a petty oath or ex-
clamation. 3. 4. 63.
jSlIf, «. A counterfeit coin. 1
3. 147. See note {2. 5. 146).
Slops, n. Wide baggy breeches
or hose, of the kind commonly,
worn in the i6th and I7tb cen-
tary. Chiefly Dial. 4. z. 121.
ShlHwri, p. ppl. Chiefly dial.
Hastily put together, perform-
ed cai«lesBly. Qj i, 326.
-ffilvd, inf. [CorruptioD of SViif .]
An imprecatory expression.
A woman's under-
garmeot, a shift or chemise.
Atek or dial. i. 3 74,
SnuAfl, V. To drive out or tiway
by means of smoke. Used fig.
here. 4. 4. 16; 4. 10. 33.
teafle, ». Phi. to laht it in snuff.
To take ofience or umbrage («*
damation with impexatiTe forte.
precate haste. ArcM. Qi. 1.81.
jSoMlUb, a. [Sp. loUmdo. a ao!-
dier.] A aoldier. 4. 2. 119,
QtmtwhMl, n. I. A cvtaia
amonnt. 4sp. in the w»y of
statement. informatiDn, etc. 1.
1 . 33. A rci. 2. Some (ma-
terial or immaterial) t-iiST^g of
Q ' -
Afch. or diat.
Sort, «. A group a troop, a com-
pany- Obi. or prop. I. 3. no;
3. 4. 3: 4. [. 7: 4. 3. 14.
tS'ools, int. [(God's sonL] Aa
imprecation. Q 3. i. 197.
Spttib, n. Uttered oinnion. re-
port Arck. 3. 3. «i.
Sped, p. ppl. Been fortunate or
prosperous. 3. 5. 68.
fS^ttte, n. Form of spitml. A
hospital, properly a hospital for
lazars. Q 2. 3. 23g.
^ring, V. fSo cause to spnng
Spor-lether, M. Asti^bywhich
a spur is secured to the foot.
2. I, 83.
SqoOMbe, 1. A baU or tube filled
with gunpowder, sent or fired
swiftly through the air or along
the ground, exploding some- ,.
what like a rocket. ProL 3t.
Senile, K. A pimp, a i»t>cnrer.
4. 8. 134.
Stal^ V. Hake common or cheap.
2. I. 39.
SUf, V. I. Restrain, check, hold.
3. 5. 148. 3. To rest, depend.
3- 3- 55-
Blewes, n. A brothel. 2. i. 63;
n,g,i,7cd by Google
Glossary
423
the movements taught by the
early fenciiig-maatera, as in the
i6tb and 17th centnries. i. 5.
153; 4- 7. 8a.
Stoek-UA, M. Certain gadoid
fish which are cured by apUtting
and drying hard without salt.
3- 4- 65-
Stoflkada, n. See stoekado, and
Intro., p. XV. Q i. 3. 337.
jStoekado, n. Form of stoceata.
Q I. 3. 172.
StOOMk, I. H- Spleen, anger,
choler. 3. i. 90. 3. v. jTo
hate, roent. 3. 4. 36.
StomMber, n. -A part of the
drcBB covering the front of the
body, generally lonning the
lower part of the bodice in
front and usually projecting
down into the sicirt or lapping
over it— the name being given
to the whole front piece cover-
ing the pit of the stomach and
the breast'. CD. i. 3. laz.
8tnunp«^ n. as a. Like a harlot.
4. 10. 44.
SaMBte, V. To take or carry
away, remove. Rare. Qa.3-
Subarban
suited to the anburbs, or to the
less 4eU regulated parts of the
city. 1. 3. 137.
BapprwiBJ, p. ppt. Oppressed.
Q 4- I- 127
Sun, adv. Certainly, surely. 5.
3- 94-
SanM«,M. tSospicion. a.3 7i-
Swuiga, D. To beat, to whip. 3.
2. 3»
Tak«, V. I. To succeed, be eftec-
tive, take effect. Ran. 4. 3,
14: 4. 5. 13. a. M. Phr. take
th$ TBoU of : 'To pass (one)
that part of the road nearest
the wall (this, when there
no ddewalks, was to taki
safest and best position, usually
yielded tothe superior in rank)
CD. 3- 5- 59-
ill^a. fBold, brave valiant.
7. 1*8; 4. 8. 9; 4. ir. 47.
Tankanl-bearar, n. f'One who,
when London was very im-
perfectijc supplied with water,
fetched water in tankards,
holding two or three gallons,
from the conduits and pumps
in the street. Such persons
were compelled to wai ttheirturn
to draw Water." CD. i. 3. 111.
TsBt, H. 'I'A trial, test, examina-
tion. 3. 3. 17.
Ttnerne-tokMi, n. A token is
issued by the keeper of a
tavern for convenience of
change. Tavern-tokens were
largely issued in England in
the seventeenth century. Phr.
to swallow a tavsm-lohan: 'fTo
get drunk, i. 4. 36.
Tell, V. To count, enumerate.
Arch, or dial. a. i. 3.
TmIod, n. A name given both
officially and popularly to the
shilling coined by Henry VIII,
from its resemblance in ap-
pearance to a silver coin of
Louis XII of France. The
value of the coin was reduced
later to sixpence. A name for
the sixpenny piece. 4. 3. 103
ThMt, ft. When. I. 3. 47.
Thn»-rufllillgB, n. The name of
a silver coin of the value of
three farthings issued by Queen
Ehzabetfa. 2. i. 70.
Iltrae-plld, a. tOf the highest
quality, refined, exquisite. 3.
3- 39-
TIeUe, V. To beat, chastise. 4.
4. 18.
TIek-taek, «. f An old variety of
backgammon, played on a
board with hcdes along the edge,
in which pegs were placed for
scoring. 3. 3. 96-
n^itlj, adv. Efiectively vigor-
ously. Dial. 2. *. 36.
n-he, V. fpbs. form (#Am.] A
titter, a ^ggle. 1, 4. 80.
TlmlM«ll, a. ?A figure of a tim-
n,g,i,7cd by Google
424
Eiiery Man in kis Humour
brell, i. e. a musical instmment
of pcTCuwioa, a tambourine.
Q I. 4. 130. See TumbreU-stop.
To, pf^- In comparison with.
3 3- 6»-
ToMo, n. Name of a city in
Spain, long famous for its ma-
nnfacture of finely tempered
sword-blades. Short for To-
l*do blad«, sword. A sword ot
sword-blade made at Toledo, or
ol the Icind made there. 3. i.
>53-
Ig, vbl. n. ? The act of
sexnal contact, 4. 8. 114.
Tnwd, a. I ^Approaching, im-
minent. I. I. I, 3. Willing,
obliging, docile. 2. i. iS,
tvf, M. \i. A Ught or face-
tious compositioa. A rch. 1 .
5. 71: ^. 3, ro. I. ^A looliBh
or idle fancy, 4. 8. 35. 3. A
trifle. 4. 8, 83.
jltadwr, n. [Form of Ireacktr.]
A traitor, a cheat. 4. 10. 42.
Tnaebtr, ». A wooden plate or
platter for the table or the-
kitcheh. 5. 5. 63.
^IMuMido, «. So called from
tbe island of Trinidad. Trini-
dad tobacco, 3. 3. 87.
IVolan, K. A boon companion,
oometimes used loosely as a
term of opprobrium. 4. 4. 23.
Tnril, v. To sing in the manner
of a catch or round; also, to
sing in a full, jovial voice, 1. 3.
65-
Trotbt n. Truth, verity, as in
troth (a phrase need inter-
jectionally, and often collo-
qnially reduced to troth.), t.
3. 78; »■ 4- 8; 3. I- 16
Tnine, v. To adjust and draw
closely the garment of; also, to
draw tight and tie, as laces or
points, I, 3. 33.
TUUMII, n. [Form of tunntU.]
Fig. A nostril. Rare. i. 4, 90,
TnnArall-Slt^ n. ? Form of tim-
brel. A pair of slope decorated
with timbrels. See lUps and
timbreU. 7. a. 25.
TwrtM, n. 1. A spell, aa of work,
t. 3. Ill; I. 4. 60. 2. Phr.
Serve my turn: To be suf-
ficient for tbe purpose, occauon
or emergency; answer the pur-
pose, I. 3. io«.
^rrliig-hcHUet n. Obi. ot arck.
A dressing-room. up. the roont
or place in which the actors
dre^ed for the stage. Prol. 1 7 ,
UaMMuehuuMe,
Inordinate,
Uae, ti. To frequent, visit often
or habitually, 1. 4. 71 ; 5. i. zt.
Vagrast, a. Pertaining to one
who wanders. 3. 7. 48.
TkImb, «. ParticuUr style, char-
acter, disposition, or cast of
mind. 3 i- 34'
Vapour, n. > Depression of spint,
dejection, 'spleen'. 3. i, 102.
TuM, n. A city bailiff or Ser-
jeant. 4. 9. 71; 4. 9. 76; 5. 2.
T«nt, V. To give utterance, ck-
pression. or publicity to. 4. 1.
Teoto, B. [Form of vemltr.] Q
I. 4. 162.
Venter, ». Phr. at a vetttm: At
hazard, at random. See note.
a. 3. 10.
V«lltriOle, n. VtnlricUs af Uu
brain, a series of connecting
cavities, contnining fluid, with-
in the brain, continuous with
the central cavity of the spinal
cord.' CD. Q 3. i, 45.
Venue, v. A thrust, a Innge. i.
5- 151-
Viatfenm, n. Provision for a
journey, 1, 2, 92,
VlUalne, h. Used here in af-
fectionate or jocose reproach.
Q a. 3. «-
nrgfaul, n. 'A spinet, or small
n,g,i,7cd by Google
GIosMry
haipsichord, usually quadran-
gular in shape and without legs,
very popnlu in England in the
sixteentti and seventeenth' cen-
turies. The nord is much used
intheplural.' CD. Q3.3.18S.
y»-htM'4,ppi. a. With points 01
braces removed. 1. 3. 18.
TnaMHn'd) a. Irregular,
perate, inordinate. I.
Vn-wltck'd, p. ppt. Freed froi
the effects 'of witchcraft,
enchanted. Rart. 4. 9.
Vpcwlie, V. Solve, explain.
■4- 33-
^Tp-UllMsll, R. Confuuon.
1. 4. 94.
Ttl«r, V. To dispose of to the
pablic or in the way of trade.
Obs. except in the specific sense
ol putting money, etc. '
cnlatLon. Q 3. i. 190.
Vred, ppl. a. f Ofier«d as a stake,
played lor a wager with.
27; 4. :
137-
96.
Bid, summon. Q 5
WUIM,
I. 380.
WMie, n. fThe state. 2. 3, 16.
Wend^ «. A garment of any
hind. Prol. 13.
Wbat, adv. Why. 3. 6. 43.
WbonOD) n. fA bastard; used
generaUy in contempt, or in
Wglit, K. A person, whether
male or female, i. 3. 113.
Will. V. fRequest. bid. order.
4. 8. 66.
Wind, M. Phr. to have in tk*
wind: To be on the scent or
trail of, to perceive and follow.
2. 3- 55-
Woort, If. A plant, herb, vege-
I table, 3. 5. 86.
! Writhen, pp. Wrenched, con-
I fWiUM, I, V. Form of wis.
\ 'A spurious word, arising
I Irom a misunderstanding of the
Middle English adverb iiois,
often written t-a>i5, and in
Middle English manuscripts 1
wis, I wis, whence it has been
taken as the pranoon / with
a verb wis, vaguely regarded as
connected with wif (which has
a preterit wist).' CD. 4, 2, 109.
I. adv. Certainly, truly, in-
deed, r. I. 37,
Tetj adv. At or In the present
time or juncture. 4, 10. 33.
n,g,i,7cd by Google
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INDEX
A, used for Ht, 392.
Abbott, B. A.. A Shaktspman
Grammar, a cloche for o clocke,
3116; a in place of ht, 391; ad-
jectival form of adverb rare,
363; adjectives in an adverbial
sense, 179, 357; adjectives con-
verted into verbs. 333; adjec-
tives used for nouns, 368; as
in sense of that, xZo; be used
with idea of doubt, 300; but
in sense of if not, 357; change
of adjective into verb, 373;
do as transitive verb, 386;
double negative, 196, 331; im-
personal verb need, 330; in-
transitive verbs used transiti-
vely, 363, 371 ; it used indefi-
nitely, 38a; learnioT teach. 317;
m* as ethical dative, 345;
m4lkoughi, 331 ; of after like,
384: of in sense of about, 353;
of in sense of concerning, 365:
of in sense* of from, 320; of in
sense of on, 389; of used lo-
cally in seiue of on, 360: ^-
sesi in pbrase 'possess us', 309;
practice of combining two ad-
jectives, 337 ; rare use of a
transitive verb as intransitive,
333; reflexive use of verb, 345;
should expressing obligation,
182: should used to denote a
statement not made by the
Speaker, 337; show used intran-
sitively, 392; singular verb be-
fore plural subject, 397: sin-
gular verb' with plural subject,
3S3; that equivalent to, lehen,
293 ; that used with as where we
now use iuch, 336; to in sense
of in comparison mlh, 352;
tmuposition of adjectives, 396;
transposition ol only, 396;
transposition of possessive ad-
jectives, 3S2; unemphatic pos-
sessive adjectives transposed,
395; vae ot shall to denote in-
evitable futurity, 337; whtlher
used with or, 353; tnlh in sense
of like, 3r7; you as ethical
dative, 308, 343; you in dative
'A cat has nine lives', this pro-
verb illustrated in literature,
ii4-
Accommodate, this word illus-
trated in literature. 315.
Achelous, 365,
Achely, Roger. 293. Ser More-
gate.
Adams, S., Works, 373.
Adams, W. D., Diet, of lk§ Drama,
Ixxi, Ixxviii, Ixxxii.
Admiral's men, 357.
Adriatic GnU. allusion to battle
at, 333.
Aikin, John, Memoirs of James I,
368,
Alarum against Usurers, 379,
Aleppo, taking of, 333.
Alleyn. Edward, his company of
players, 357, 407.
Amalthxa, Jupiter's narse, 365,
Ambrose, Hexaemeron, 349.
Amu rath. 333.
Apple-squire, 390.
Afvlcots, 284.
'A rime to him ia worse then
cheese', similar proverbs quo-
ted, 373.
Ariosto, Orlando Fjtrioso, 371.
Aristophanes, Clouds, 366.
Aristotle, his Problemala, 342;
his theory of comedy, Ixxxviii.
n,g,i,7cd by Google
Euery Man in his Humour
Aronstein, Philip. Ben Jonsox,
Ixi.
Arthur, King, 345.
ArthnriaD legend, 34O.
Artilleiy Garden, 364.
Arundel, his apology to Queen
Elizabeth for accepting honor
of eotMi imperii without her
l«t>ve, 3441 ttis receiving title
of count of the Empire, 343.
'As he brews, so he shall drink',
this proverb illustrated in liter-
ature, 326.
'A toy to mock an ape', this
proverb illustrated in litera-
ture. 373.
Bacon, Francis. Table 0/ Ihe Co-
lours, etc., 370.
Bacon. Roger, 303.
Balladmongei, contemptuous at-
titude toward, 394, 380,
Balsum. 361.
Bang, Willy, his reprint of the
Jonson Folio of 1616. xvl, 261:
his reprint of the quarto of
Evtry Man in His Humor,
BaskerviU, C. R., English EU-
ments i% Jonsan's Early Co-
medy, xcv, 363, 265, 279.
Bastard of Burgundy, 3S1.
Beaumont, Francis, bis frequent-
ing Mermaid Tavern, 3S4,
Beavan, A. M., Fishes I have
known, 399-
Bedstaff, this word Illustrated in
literature, 315,
Beeston, Christopher. 406; his
lines to Thomas Heywood, 407.
Bel), Malcolm, Old Pewter, J97.
Bells, described as a term in
falconry, 273.
Benchers, 374.
Bent, J. H., Early Voyages and
Travels in the Levant, 2S5.
Bevis of Hampton, Sir. his horse,
355-
Bias of Priene, 357. See Seven
wise masters.
Bible, quoted from. 270. 364, 349,
365. 370
346-
Bisset, Charles, Med. Ess.. 403.
Blackfrian playhouse, 358, 366,
406. 407.
Blackmore. R, D,, Perlyeross. 275.
Blackstone, Sir W., 375.
Blount, Edward, his assigning
Hero and Leander to Paul
Unley. 375: his issuing of first
edition of Hero and Leander.
37S.
Blount, Thomas, Law Dictionary .
370.
Blue coats, badge of servitude,
329. 330.
Bobadill. discussion of tjx^ name,
364.
Bohemia, wars of, 333.
Boke of St. Albans, its natare
discussed, 372: published in re-
vised form by Geivase Hark-
ham, 272; quoted from, 374.
378 ; sold by Humphrey
Lowndes, 371.
Boots. 3(t.
'Brace ot angels', this phrase illu-
strated in literature, 389.
Brand, John, Popular Antiq-
uities, 343.
Brasen-bead. story of in connec-
tion with Friar Bacon and
Friar Bungay, 306.
Breton, Nicholas, Wits Trenck-
mour. 279. See Pasquil.
Brewer, E. C, Dictionary of
Phrase and Fable, 366.
Bridewell, 365.
Briggs, \V. D., ed. of Sejanus,
388.
Brome, Richard, Novella, 306.
Brooke, C. F. T.. his edition of
Hero and Leander, 375.
Brown, Tom, Amusenttnts for the
Meridian of London, 348.
Budge, E. A. W., editor and
translator of Coptic texts re-
lating to the Martyrdom and
Miracles of Saint Gtorge of
Cappadoda, 308.
Buff, Adolf, his comment on
n,g,i,7cd by Google
Evtry Man In (y i. 29), 393; his
article in Engliseht Sludifn (i.
i8t) quoted, Ixii.
BnUeiu, William, Bulmarkt of
Di fence. 316.
Bntlet, use of for producing the-
atrical til under, z6S.
Borbagc, Richard, 406,
Bnrgnnian, 381.
Bnrre, Walter, 259.
Barton, Robert, Anatamy of
Mtlanckoly, 371, 273.
Bnt, nsed in sense of if not, 381.
Butler, Samuel, Hudibras, 325.
Battes, Henry, Dyets Dry Dinner,
362.
Cambridge History of English
Lileraltire, lxviii,*258.
Cambridge Modern History, 332,
333-
Camden, William, brief story of
his life, 261; comment on Ded-,
■cation to Camden, 360; his
comment on Thynne, 302; Joa-
son'a fourteenth epigram in
honorof, 261. 5n Clarencieux.
Cap*, little caps worn by women,
350-
■Care'U kill a caf. this proverb
lUuatiated in literature, 309.
Carew, Richard, The Survey of
Cornwall quoted from, to de-
scribe the sports of B ngland, 274.
Carew, Thomas, his frequenting
the Mermaid Tavern, 384.
Carey, George. 258.
Carey, Henry, 257,
Carranza, Jeronimo de, De la
fUoiofia de las armas, etc., 313.
Cassell, Natural History, 341,
Castelain, Maurice, Ben Jonson,
Ix, Ixii, Ixiv, Ixv. Ixvii, Ixxxvii,
ncvii, 286.
Castle. Egerton, Schools and
Masters of Fence, 314, 315, 316,
386.
Catadupa, 400.
Catherine de Medicia, 362. See
Nicot.
Century Dictionary, cited, 283,
335. 356-
** 435
Ceruse, 388.
Cervantes, ftiguel de. Canto de
Caliope, 315; Don Quixote, 266.
Chamberlain's Company, Lord,
^57. 406, 407-
Chamberlain's Servants, 257.
Chambers, Robert, Book of Days,
343- 355
Chapman, George, All Fools, 391 ;
his continuation of Hero and
Leander. 375.
Charles V of Spain, 366.
Charles wayne, explained, 283.
Chaucer, Geoffrey, Troilus and
Criseyde, 273.
Chilon the Lacedemonian, 358.
See Seven wise masters.
Cicero, De Re Publiea, 400.
Cittern, its use in the barber's
shop, 348.
Clap-dish. 321, 322,
Clarencieux. comment on the
presence of this word in varions
editions of Every Man in His
Humor, 260.
Clarentjaux, defined as a term in
heraldry, 261. Set Nason.
'Claudite iam rivos pueri sat
prata biberunt'. 405,
Cleobnlus of Lindus, 357. Set
Seven wise masters.
Coat, use of the the word as thesign
of a profession illustrated, 348.
Cob. this word illnstrated in liter-
ature, 303.
Cogan. Thomas, Havtn of Health.
Collier, J. P., History of English
Dramatic Poetry, 266; Life of
Shakespeare, Ix; Memoirs of
Actors, Ixix, 406, 407.
Collins, Comic Drama, xxxv.
Comedy, Jooson's theory of, 269.
Comodey of Umers, mentioned.
Comparison of quarto and first
folio versions of Every Man in
His Humor, 271.
Concealment, 378.
n,g,i,7cdbyGo.ogle
436
Euay Man tn his Humour
Condell, Mcnry. 4061 his collab-
oratioD with John Hemmings
in pablication of (int folio
edition of Shakespeare's work,
407-
Condaitt, 196.
Cook, A.S., hit edition of SheUey's
Dtftntt <•/ Potlry. 493; his edi-
tion of Sidney's Dtfense of
Potty. 400.
Cook, John, 403.
Cophetaa. 356.
C^ridon, tbis word illustrated in
litemtnre, 318,
Cornucopia, 365.
Cornwall, Barry, his edition of
Corftt. Dipt, de Finelon, quoted
from, 185.
Cos tar-monger, spelling of the
word, Z93.
Cotgrave, R. A., French and Eng-
lish Dictionary. 275, 181, 382,
384, 199, 300, 316, 312. 331
351, 36*. 388.
Cotton, Charles, his frequenting
Mermaid Tavern. 384.
Council of Placentia, 335.
Counters. 331,
Court and Times 0/ James 1, 328.
Cowley, Abraham, Fssays of Lib-
itly. 38g.
Coxcomb. 309,
Croiset, A. and M.. Hisloire de la
LitUrature Gricque, xxxv.xciii.
Cross, 390.
Callion. thj^ word illustrated in
literature, 363.
CunninEham, Francis, his addi-
tion to Whalley'a note on
fasting days, 337: hii comment
on 'foot-and-balfe-foote'words,
367: bis comment on phrase
'join'd patten', 357; bis re-edi-
tion of Gifford's edition of
Jonson, XXV. txv. See Quarto.
Cupii's Posies for Braeelett, Hand-
htTfheri. etc., 337.
Cursor Mundi. 316.
Cnrtaun, iJS,
Cypresse, history of the word.
I>aliam, Thomas. TrauOs tpUh an
Organ lo IkeGrand Seigmivr, 386,
Dalroatia, 331.
Daniel, Samuel, Ciui! Wars, 403;
Comf4ainl of Rosamond, 40T ;
Sonntt to Delia, 401, 402.
Date of Every Man in Hit Humor
discussed, Iviiiff.; ezteroal evi-
dence for, liz; Gifford's opin-
ions regarding, lix ; internal
evidence for, lix; Nicholson's
opinions regarding, Ik.
Davenant, Sir William, TheWiUs,
330-
Davies, Sir John, his second epi-
gram quoted in explanation of
the word gull. 363.
Davies, Thomas, Dram. Misc.,
Ixix, Ixx, Ixxi; Memoirs oi Gar-
rick. Ixxiii-
Davis, G. B., his catalogue oi
coins, medals, and tokens. 303.
Dedication to Camden, 360.
Defence of the Female Sex. 34S.
Deianira, 3G5.
Dekker, Thomas, Gwlf'f Horn
Book. 363, 306, 313; 2 Honest
Whore, 303, 348; Knight's Con-
juring. 359; SatiromasHx. 310;
Shoem^tr's Holiday, 277, 193,
330, 370, TA« Belman of Lon-
don. 387 ; WitckofEdmoutow.in-
Dependance, this word illustrated
in literature, 313.
Derby, Earl ol, 257.
'Die mlhi musa vlrum', 400.
Dictionary of National Biography,
referred to, 304.
Disobedient Child. 33G.
EHxon, W. M., hU edition ol
Every Man in His Humor de-
Do, used as a transitive verb. 386.
Dodsley. 271. 326, 363, 370. See
Hazlitt.
IJonnc, John, his frequenting
Mermaid Tavern, 3B4.
Don Quixote, quotation from. 266.
I>or, this word discussed, 389.
Douce, Francis, his explanation
of Fayles, 353; Illustrations of
Shakespeare, 316
n,g,i,7cd by Google
Downes, John. Rasciiu Anglica-
Downfail of Robert Earl of Hunt-
ingdon, 316.
Drake, Sir Francis, his introduc-
tion of Virginian tobacco into
Europe, 361 ; his ship, 299.
Drayton, Michael, Of Poeti and
Potsie, Ixxxv.
Diyden, John. Absalom andAehil-
opkel, 340; Essay on Dramatic
Potty, Ixxjcvil.
Dudley, Robert. 257.
Dnke of Bourbon, 332,
Dnke, John, 407.
DniiDdana. 345.
Dyce, Alexander, Glossary to
Skaktspeare. 300.
Earl of Shrewsbury's Letters,
comment on Hi gg in bottom
found here. 334.
Earle, John, his Microcostnogra-
pkit quoted in explanation of
Paul's Walk, 264; quoted to
illustrate the word tobaeeo-seller,
363; quoted to illustrate the
word tyring-hotise. 267.
Eastward Ho, 297, 331, 334.
Edition of Jonson, 1716, descri-
bed, XX.
Edward the Confessor. 370.
Eggs, roasting on a spit, 366.
Elizabeth, Countess of Rutland.
401.
Etizabeth, Queen, ber displeasure
at honor paid Amndel by Ru-
dolph, 344; hei order that
Arundel give up title of c<
oi the Empire, 344; her visit
to the Royal Exchange in i
319; little caps worn in
reign, 350; ordinance for the
reformation of gentlewomen'!
bead-dress in her reign, 351.
Embei-weeks, 354.
Encyctopaiia Britanniea, refer-
red to, 290, 197. 309, 368, 387,
403.
Excalibnr, 343.
Exchange, described, 319.
Exchange time. 351.
ex 437
'Faces about', this expression ex-
plained, 339.
Fairholt, F, W., Costum4 in Eng-
land, 298, 312. 319, 323, 395:
Tobacco, 361, 361. 364, 368.
Fascinate, 389.
Fasting days, 353, 357.
Fayles, 352.
Fig for Months, 279.
Finsbury Fields. 276.
Fischer. Rudolf, his .edition of
How the Wise Man Taught hys
Sons, 279.
Fittgerald, Percy, his Life of
Garrich, xxi,"lxxii.
Flasket, John, his publishing
Hero and Leander, 375.
Fhtt-cap. described, 332.
Fleay, F. G., English Drama, Ix.
Ixiv ; History of tke Stage, Ixviii.
Fleay and Penniman. their theo-
ries regarding Daniel's parti-
cipation in famous st^e-qnar-
Fleet Street, 324, 366, 378.
Fletcher, John, his frequenting
Mermaid Tavern, 384: Woman's
Priie. 359.
Florio, ]Qyia, Dictionary of Italian
and English, 316.
Florus, P. A., De Qualitate Vilae,
404.
Fldckiger and Kanbury, Pkarma-
cographia, 361.
Foist, this word descussed, 381.
Folio of 1616, xviff.: Bang's
reprint of, xvi; Phelps' copy
of, xvi; Yale Library copy of.
Folio of 1640, xvii.
Folio of 1692, xix.
Ford. John, his Broken Heart
quoted to illustrate )he word
squibbe, 268; Tke Lover's Mel-
ancholy, 364.
Forater, John, Life of Dickens,
Francis of France, 333-
Franz. Wilhelm, Shakespeare-
GramMaftA, cited. 263, 171, 279.
280, 281, 282, 29Z. 396, 306,
308, 309, 317. 320, 311. 327, 337,
n,g,i,7cd by Google
438
Euery Man in l^ Humour
338. 345. 353. 337. 360. 363.
369, 381, 383, 384. 386, 389.
395. 397-
Frederick, Duke of Wfirttembere,
Journal, 399.
Ffimr Bacon and Friar Bungay,
306.
Fronde, J. A.. Hittory of England,
357
Gammm' Gutlon't Nee4U, 363.
Gargantua, 335, 353.
Garrick's st^e-version of Evety
Man in His Humor, xxi.
Gayley, C. H„ his comment on
Higgiu bottom, 334; his editioii
of Evtry Man i% kis Humor
described, xxx.
General, this word illastrated in
literature, 309.
Genest, John, English Slag*. Ixx,
Ixxi, Ixxiv, Ixxv, Ixxvi, Ixxvii,
Lxxviil, Ixxlx, Ixxx. Ixxxi,
Gentlemen of the round, 35S.
George, Saint, 30S.
Georgios, 309. Stt George.
Gerbier, Sir B., his nse of the
word lobaeeo-drinker, 364.
Gifford, Wtlliam, his addition of
3. stage-direction to Every Man
i"- 345; lii" comment on Bob-
adill's self -revelation, 3S4; his
comment on books ab hawking
and hunting, 273; his comment
on Christ's Hospital, 32a; his
comment on custom of provid-
ing musical instruments in
barber shops, 348; his comment
on discordant commentaries
on word venui, 317; hia com-
ment on 'drinking tobacco',
364; bis comment on expres-
sion in snuff, 3 78 : his comment
on herring, 301 ; his comment
on Higginbottom, 334; his
comment on James' Counter-
blast to Tobacco. 363; his
comment on profanity in Every
Man in His Humor, liii, his
gown, 391 ; his comment on the
spelling of Jonson's nune, 258;
bis comment on the use of
choras on the stage in Jonson's
time, 267: his comment on
verb ifor, 3S9; bis comment 00
Wballey's defense of printing
4. I. 21 {Every Man In) and
other speeches as prose, 372:
his comment on Whalley's note
regarding Italian manners, 387;
his comment on Whalley's note
regarding the binding character
of oaths, 353; his comment on
word Condon, 318; his criticism
of Whalley for inaccurate quo-
tation, 404; bis description of
MermaidTavern,3S3 ; his edition
of Jonson's works described,
xxiil, cited, 269; his illustra-
tions of the word frippery, 284 ;
hia illustrative quotations for
Serjeant's mace, 391; his liber-
ties with Jonson's text, xx,
277, 320, 315; hia note on cox-
cealmenl, 378; bis note on
Fayles, 352; his note on foist
and Burgutlian, 381; his note
on The Spittle. 287; his noting
Jonson's indebtedness to Hor-
ace, 336: his noting Jonson's
indebtedness to Junius, 375: bis
noting Jonson's indebtedness
to Quintilian, 335; his noting
Jonson's indebtedness to Span-
ish Tragedy, 271; his opinion
of Whalley's comment on 4. 6.
7 {Every Man In). 382; his
quotation from the Scholar
regarding a stage-throne, 26S;
his quotation to prove that the
tbree-farthings was thin, 321:
his remark on Master Stephen's
knowledge of Spain, 334; his
remark that Shakespeare does
not notice tobacco, 363: his
theory regarding Jonson's re-
lation to Shakespeare, Ixv, 267 ;
his translation of Juvenal's
eighth satire quoted, 280: his
translation ol ^Juvenal's thir-
n,g,i,7cd by Google
teeoth satire quoted, 335; his
translation of Juvenal's four-
teenth aatiie quoted, 337. S»»
Date.
Gipsy. 386.
Globe theatre, 258, 406.
Gorget, 395.
Graan, retaken from the Turks,
343-
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Frier Bacon and Frier Bungay,
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n,g,i,7cd by Google
44©
Eiury Man in kis Humour
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Homer, 169: Odyssty, 400.
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343-
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3H
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Howes, Edmnnd, bis continua-
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How the Wise Man Taught hys
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its ancient physioli^cal sense,
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H angaria, 333.
Hunsdon, Lord, 358.
Ho at, Leigh, 330.
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Idea, this word discussed. 299,
'I have eggs on the spit*, this
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Imbroccata. this word explained,
3"5-
'Incipere dulce', this phrase dis-
cussed, 374.
Influence of the classics, Ikxxv.
Inkhorn, explained, 383.
'Insipere dulce', 374.
'Id snnff', this phrase illustrated
in literature, 378.
lohrtson. Arthur, 259.
Is'bel, sole use as name for Cob's
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It^ian marwers preserved in
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James I, 363, 401.
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Jerram. C. S. 168.
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great virtues attributed to.
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Bartholomtm Fair, ci, 363,
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404; Poetaster, 258, 276, 283,
313; Sad Shepherd, xcvix. 396;
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JudsOD, A. C. ed. of Cynthia's
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»* 441
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Euery Man in his Humour
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Tennyson, Alfred. Beggar Maid.
356; Mortt D'Arlkur, 345.
Terence. Ixxxviii, 405; Adelphi,
Ixxxix, 290; Andria. Ixxxtx;
Eunuchus, 270, 352; Heauton-
timorumenos, Ixxxix ; Hecyra.
Ixxxix; Phormio, Ixxxix, xciii.
TertuUian, Ad Uxorim, 349.
Teston. 379.
Teuffel and Schnab, Roman Li-
terature, 341.
Tbalei the Milesian, 358. See
Seven wise masters.
Theater. 258.
The brave English Gipsy, printed
by John Trundle, 194-
The eatUe or picture of polUy. etc.,
358.
The Famous His4orte of Frier B*-
con. 306.
The Gentleman's SeereaHon, 173,
278.
The Jtogues and Vagabonds of
Shahespere's Youth. 346.
The Two Noble Kinsmen. 370.
Thomas k Kempis. De Imitatione
Christi. 403.
Thomas. Lord Arundel, 343, 344.
See Arundel.
Tbombury, G. W., Old and New
Loudon, 324; Shahespeare's
England, 306. 367.
Three-farthings, description of,
321.
Three-pild akomes, 350.
Thy one, Francis, 302.
Tieck, Ludwig, 394.
Timbs, John, Curiosities of Lou-
don, 366, 393.
Tobacco, 'drinking' it. 364;
effects of its use, 363; its cura-
tive powers, 361 ; Nicotian, 362;
spelling of the word, 368; trad-
ers in, 362, 363.
Tobacco -trader, this word illu-
strated in literatare, 361.
Toledo, swords of. 333, 346.
Tower, its use for private mar-
riages, 387.
Traill. H. D.. Social England, 297.
305-
Transposition of adjectives, 396,
Treoch, R. C, English Past and
Present, 258, 300.
Trevisa, John de, his version of
Bartholomasus, 350.
Trojan, used as type of honesty
and trustworthiness, 381.
Trollope, William, History of
Crist' s Hospital, 320.
Trundle, Johu. 194. See The
brave English Gipsy.
Tumbrell-slops, described, 324.
Turberville. George, Booh of Fat-
Turkey Company, history of, 285.
See Levant Company.
TurnbuU Street, 385.
n,g,i,7c.dbyG00'^lc
'Twelve-month and a day',
as l^al term, 370.
Tyler, Wat. 338.
Tyiiog-bouse.this word illustrated
in literatare. 367.
Unity of time, discussion of,
366.
' Up-tails-all ', this phrase illu-
strated in literature, 309.
Urqnhart, Thomaa, tlis translation
of Rabelais, 353.
eofdeacribed.
Velvet scabbards, u
333-
Venetian conrtesans, 336.
' Veni, vidi. vici ', this phrase
illustrated in literature. 331.
Venner. Tobias, Via Secta ad
Vitam longam, 337.
Venue, this word explained, 316.
Victoria, Queen, 368.
Vienna, relief of, 333.
Virgil, Ixxxviii; £nnd, 340;
Eclogue*. 318, 405.
Virginals, barber's, 348.
Walford, Edward, Old and New
' London, 36S.
Ward, A.W., Hisl. Engl. Dram.
Lit., be, Ixxxvii, xcvi, 259.
Ward, Edward, London Spy, 323.
330. 366. 393 ■
Water- tankards. 369.
Way, Albert, his edition of
Promplorium Parvulomm, 350.
Webster. John, Wtslward Ho. 317.
Whalley, Peter, his account of the
siege of Strigoninm, 343; his
comment on ' A toy to mock
an ape ', 373; his comment 00
editors' converting prose into
a ' hobbling kind of measure ',
373; his comment on Jonsoa's
theory of comedy, 369; his
comment on Jonson's tribote
to the poet (5. 5, 38), 404; his
comment on melancholy as the
physical cause of wit. 342 ; his
comment on poison as evidence
of Italian manners, 387; his
comment on ' The Spittle ',
387; his comment on ' Well
tx 447
sir', 370: his comment on
4. 6. 7, 382; his edition of Jon-
son's works, xxii, 361 ; his note
on ' benchers'. 374; his note
00 binding character of oaths,
353 ; his note on.' fasting-days ',
357; his note on ' gentlemen of
the round', 358; his noting
Jonson's indebtedness to Da-
niel, 401; bis noting Jonson's
indebtedness to Juvenal, 336;
hisquotationfrom King James'
Couttterblasl to Tobacco, 363.
Wheatley and Cunningham, Lon-
don Past and Prtstnl, 360, 376,
277, 284. 386. 387, 396, 305,
324. 338. 359. 378. 383. 385-
Wheatley, H. B., his comment on
Jonson's use of the word
comadU. 360; his comment on
the dedication to Camden, 260;
hia comment on the spelling of
Jonson's name, 258; his edi-
tion of Every Man in His
Humor, xxv, liii, Ivi, 260, 264,
267, 368, :^79, 281, 283, 384,
385, 389, 291, 292, 393, 297,
298, 399, 303. 306,308, 310, 315.
316, 318, 335, 336, 327, 328,
330. 33'. 331. 338. 340. 343.
347. 350. 354. 353. 357. 358.
359. 361. 362. 363. 365. 3«.
370. 371. 372. 373. 375. 379.
380, 386, 387.
Whetstone, George, his dedi-
cation to Promos and Cassan-
dra alluded to. 366.
Whipping, 393.
White-chapel, 385.
Whitmore, H.. Febris Anomala.
or the new disease that now
ragtth Ifiroughoul England. 337.
Wilkinson. Robert, Londina
liluslrala, 369.
Windmill Tavern. 387, 383.
With, used in the sense of lilu,
3'7-
Wolf, John, his licensing of Hero
and Leander, 375.
Wood, Anthony, 304.
Woodbiidge, Elisabeth, discussion
of moral method of Jonson, 398.
DDl
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^^ Every Man in his Humour
Wright. Thomas. Polilical Poems \
aiul Songs, 336. , Youatt, William, Tht Dog. i8g.
ERRATA
Page ii, itage-directioo, jor M'' read M''.
]3. I. 94, lor give T»ad giop.
33, footnote to I. 38, /or sir] read (ir.],
33, footnote to I. 38, for sit 1640 rtad Sir 1640.
35' [9]. should be printed after 1. 4I instead of after I, 41.
33, footnote to I. 48, for courtrie read court'fle.
40. stage-direction, for EnUr Lorinio read Enter Lorento.
41. stage-direction, for M'' raad M^
45. '. 29. /'"' IM'; *"d m".
45, footnote to I. 19, /or m"' fearf m".
49, I, 65, /oc M' read M'. '
,, 49. 1. 80. /or melancholy read melancholy'.
., 49. footnote to I. 88. for 81 read 88.
51. !■ 95, for Iturie read lewrie.
53. [13! should be printed after 1. 107 ioatead of after I. loS.
„ 6i. [17I ahouldbeprintedbefore I. io8 instead of bcforel. 107.
,, 70. footnote to 1. 237, for ftoekada read stockado.
73, footnote to .ttage- direction, for The Old Jewry read The
Old Jewry.
79. I. iiQ. for And read An.
8j, add footnote to 1. s- {Bxil. G
85, footnote to I. 15. for I'st. read I'ft.
89. footnote to 1. 31. for ny G rtad my G.
95, add footnote to 1. 3. nor] not. B.
„ I03, add 5 before I. 5.
„ 109, 1. 93, for you fir read you. lir.
.. 109, 1. toi. for felf-Ioue read lelle-lone.
,, 110, [35] should be printed before I. 103 instead of before 1- 104,
„ III. footnote to I. no, for 121 read 130,
,, 114, stage-direction, for V-nter Mufco read Enter Uufeo,
.. 1 16. [38] should be printed belore 1. 330 instead of beforel. 321.
,, 137, 1. 133. for And heare read And, heare.
.. 130, 1. 169, for now read now.
,. 131, footnote to 1 54. for fish read fifh.
„ 133, 1. 66, for U' read W .
.. 133, i. 6- for M' read M'.
.. 135. '■ 57. /'W ftood of read Itood out of.
138, stage-direction should be printed after 1, 121 instead of
after 1. 130.
,. 139, [41I should be printed after 1. 108.
., 139, stage-direction should be printed after 1. ir6 instead of
., 141. stage-direction aboutd be printed after I. 139 instead of
after I. 141.
,. 153, stage- direction, 'or M". . . . M'. read M"". . . M'*
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